Writing Tasteful Gags and Humor for Comedians: Tripods are funny: Crafting Words in Groups of Threes: Kindle Edition

https://www.amazon.com/dp/B01HLUPZP6 https://www.amazon.com/dp/B01HLUPZP6

How to write tasteful humor with gags as tripods. Using groups of threes in writing or speaking for stand-up comedians and for children's book creativity enhancement.

• File Size: 2665 KB
• Simultaneous Device Usage: Unlimited
• Publisher: Anne Hart; 1 edition (June 26, 2016)
• Publication Date: June 26, 2016
• Sold by: Amazon Digital Services LLC
• Language: English
• ASIN: B01HLUPZP6
• Text-to-Speech: Enabled
• Lending: Enabled
• Enhanced Typesetting: Enabled
• 54 Pages

Adventures in My Beloved Medieval Alania and Beyond: A Time-Travel Novel Set in the 10th Century Caucasus Mountains. Historical Novel by Anne Hart.

Proper Parenting in Ancient Rome: A Time-Travel Novel of Love as Growth of Consciousness & Peace in the Home. Historical Novel by Anne Hart.

Riding with the Queen of the Huns

© by Anne Hart

The Gobi Desert, Early Medieval Times: Riding with the Queen of the Silk Road and Painting her Portrait with Threads

"I’m going to take many more wives,” Jelek chortled. “I have a right to marry as many wives as I please. I’m the Khan now.”

“And I’m still the Queen.”

Taklamakan rose to look over the portrait that I now had finished. I painted her riding her horse with the wind through her long hair. I drew her as wild looking as her horse with the same expression in the eyes. It was a longing for the freedom of the steppe.

She spoke to her husband as she waved my painting above her head to view it from all sides. “You are my father reincarnated. When I was born, the midwife announced to him that he now had a new daughter.

He told the midwife to look twice. ‘Are you sure it’s not a boy?’ he asked.”

“Shaddup, shaddup, you werewolf of the steppes, the Khazari will hear you.” Jalek groaned. “You’re going to make me kill you.”

Taklamakan ignored him and looked me straight in the eye for sympathy.

The more sympathy she could get from me, the more she manipulated me with anger.

The Queen of the Huns meant trouble. I tried to help her. I tried to force pity so I’d give her a ride someplace on my steed. She said she wanted her independence again.

“I must leave here,” she said quietly. “I have chosen the wrong husband to be the Khan of my peoples. I will ride alone until I find the right man to be the father of my future children.”

“I won’t give you children. You’re not going to rule me,” Jalek said as he turned away.

“Why do you speak to me only in commands?” Taklamakan sobbed. “I’m the Queen. Why isn’t anyone listening to me?”

“Not since you made me the Khan of your peoples and mine.”

“Isn’t it funny how our marriages always turn out to be like our parent’s

no matter how much we try to be different?” Taklamakan said.

No matter how bad the marriage went, those two types would be

hardest to separate. In their mood swings, they could kill each other.

Never Marry a Timid Man

“Never marry a timid man. The shy one will explode in anger at their wives,” she told me.

“What would I know about marriage at fifteen?”

“The shy ones observe everything and turn it inwards, putting themselves down, calling the partner a loser, and finally, bursting with violence when they start to feel sorry for themselves.”

It was obvious our whole family said, that Taklamakan controlled Jalek with an iron hand inside of a velvet glove. When he was free of her a few hours a day, he went way over the limit.

“I like you, Chichek,” Jalek said to me meekly.

“That’s too bad,” I answered defiantly. “I don’t like you. I like friends my own age, friends that I can run and play with and trust with my life that they won’t curtail my own freedom to think for myself and question all who seek power.”

“That’s right. We are both thinking women,” Taklamakan added.

“Women destined to be the Khatun of each of our lands.”

He exploded. “I hate this room where you play. I hate the cold fireplace,

and your vicious wolf cubs. I hate every pelt in this room.”

“Jalek, don’t do this,” I said. “You’re coming to live with me to see how it works out,” Taklamakan said. “We’ve only been married one day.”

“I hate everything in this room, from the kettle that holds the kindling you never use to the dumb statue of a cat that has a history I’ve heard too many times.”

Jalek ran to the mantelpiece and tossed everything to the carpet. He took a vase with a candle in it and threw it at the Queen.

Taklamakan ducked, but the vase flew through the window.

“He’s being ugly,” she whined to me.

Jalek ranted on. “At your wedding it was the two deaf ladies from

Atil that I had to entertain. I’m so lonely, I could die.” Suddenly he

was ashamed of what he’d blurted out.

“My wedding? The wedding was for you and me.”

Jalek the third, Khan of the Avars, looked at me shocked that I’d see

inside him. A servant girl poured some nettle tea into several chalices

and handed me and him a cup. “Please, let’s all cool it,” I said cautiously.

The herbal mixture on the table stood untouched. “I hate the two, long, watery drinks that have to last through the night,” he teased, twisting his mouth. “I hate the phony smiles in this room. You’re all laughing at me. I’m sick of the fake formality you go through to impress me, my ladies.”

“You’ve done pretty well tonight helping him to talk, to open up like a woman,” Taklamakan complained.

“All I see are phony, stapled smiles, like costume dolls,” Jalek continued.

“Two red dots on each cheek.”

The Queen of the Huns couldn’t show anger. “Maybe if you had to

go out and till the land for a living instead of living for the moment.”

“What about you?”

“You worry me so,” Taklamakan cried. “It’s a barrier to the pain you cause me. You disappeared on our wedding night. Where did you go? And today, you want me to leave. Why don’t you leave? I want a

new husband, maybe a match from one of the sons of the Kagan of the Bikhar Khazari.”

“Maybe you want your freedom.” I interrupted.

“What do you know, steppe sister? You’re only fifteen.”

Jalek the third took up his goblet. “Shove your time-traveling trip. I want something of my own.”

That was the first faint surge of triumph he’d felt all evening.

“Nothing makes a Hun Queen angrier than to have her youthful husband argue like an old hen,” Taklamakan said.

“Tonight I’m ready for a fight,” said the Avar Khan.

“Save your energy for the Pechenegs,” his wife replied.

“You control every facet of his life. He is a king to his people. Why don’t you let him show what he can do for his own people?” I asked her.

“The wrong husband can ruin your whole wedding day,” she said.

“Why won’t he allow me a life?”

“Allow?” I hesitated.

My mother heard it all from behind the drapery and entered the room, uninvited. Her royal presence acted to calm down the couple.

“Does he expect you to say ‘My dear little baby, don’t grow up?’”

Khatun announced as she rustled her cloaks and lighted the oil lamps.

“Taklamakan,” Khatun said. “Jalek is asking what children always ask.”

“What’s that?”

Jalek walked toward my mother. He put his powerful tanned arms around her. “If I fall in battle with the Pechenegs, then will you love me, mommy?”

Jalek broke down in tears. “Tell her, Khatun. Tell her.”

Mother blew a long sigh through the serrations of her lower teeth.

I’ve taken in a Pecheneg orphan, an Avar, and now you. Sit down. My table is ample enough to feed one more mouth. Besides, charity multiplies.

“We just found out today. Jalek is going into a battle and is vastly outnumbered.” She told the whole family at the dinner table.

Jalek crumpled, sobbing at mother’s feet. “I’ll never be a man.”

Taklamakan poured the goblet of herbs and water over the back of his neck. “You wimp, get up. Thousands of people win battles with the Pechenegs. You have to be a man if you want to ride with the Queen of the Huns.”

“I’m going to end up defeated.”

“Defeat is an opportunity for change. You don’t have to go into battle, though, and you don’t have to take the coward’s way out. Join our secret time-traveling family.

“It must take a lot of doing to win all that strength over into your own corner and then go on eating at the same table, living normally day to day,” Jalek told me.

He arose and looked at Taklamakan and I. “You two steppe sisters are too good at everything, like my step mom—training a wild horse or riding upside down or cooking dinner for twelve hundred without servants.”

“Tell me about your real mom, Jalek. When I was your age, talking wasn’t an option,” Khatun said.

Like a thorough bred horse, Jalek couldn’t resist the challenge. Before he could open up to me in front of us, Taklamakan interrupted and cut him off in the middle again just as her own father did to her.

She told me all about her life raised by a widowed Khan and trained to ride and use a curved sword from the age of five.

“You’re absent just like my old man, the coldest Hun on the Silk Road.”

Jalek shut down. “Where’s my father?”

“The Pechenegs killed him in battle.” She cried.

“I saw a Pecheneg also named Jalek burned by the Kievan prince,” said father.

“That was Jelek, the Pecheneg. The Avar Khan’s name is Jalek.” I told my family.

“I didn’t realize the Avars and Pechenegs had almost the same names for their sons.”

“What are you thinking, mother?” I turned to the Khatun. “Don’tlet the sound of a name fool you. Similar sounds may have different meanings among a variety of peoples. I knew a Kievan prince’s son also with the same name. And then there was a Bulgar named Jelek. What about the merchant from Khwarizm named Jalek?”

“I say the Khan’s a spy. He’s no Avar. Look at his face sideways. He’s a Pecheneg.”

“But do they really look that different? They have so many different people who joined them along the Silk Road. They could look like anybody here. He could be a Uyghur or an Oghuz,” mother insisted.

“Taklamakhan,” I sighed. “Do you really want to stay married?”

“My father who always called me a thinking woman,” said mother.

“So now think for yourself clearly, Taklamakhan. Do you want to stay with your husband? Do you want him to go to war? Or do you all want to lay aside your feelings and join our family time-traveling through the centuries and find out what real wars have turned into so that you may go home and avoid them?”

Taklamakan thought how I could tell her that she had to really love herself and respect herself to deal with all the worry. How could I treat this war on a family level when a bigger war was going on outside the door, a war of hatred between the haves and the have-nots, the culturally different, and even the whole world?

As much as war stank, it was responsible for the evolution of knowledge. Not that knowledge is wisdom, but that righteousness is wise. There’s a fine line between knowing how to heal or knowing how to pray or knowing how to build a weapon or wagon with more wheels that doesn’t break or a horse that can gallop through a desert like a camel.

That bothered Taklamakan a lot. The last time we two steppe sisters feasted together, an old lady got ahead of her in line as we waited in the hot sun for a goat skin bag of water to drink.

Taklamakan grabbed the lady who cut in front of her and screeched, “Get out of my way before I push in your face.” All that inner rage exploded. At home, the Queen of the Huns was incapable of showing anger. Instead, she’d make you feel guilty by prying your sympathy at how sick she was with loneliness at eighteen. With a total stranger whom she was sure of never seeing again, she pinched and shoved and stepped hard on toes. All the anger she banked for years was suddenly spent on a stranger.

“Was I the goddess of the steppes?” She laughed afterwards in her shaky voice. There weren’t many goddesses in the steppes, just our mythical hawks, horses, amulets and the spirits in the trees.

Taklamakan is smart. She changed the subject. “We’re placing power in sick hands. Half the Khans of the Huns have slapped their concubines around or worse. Our people are creating cages too small

for a couple to hide in. Everybody knows two wolves in a cage bite each other. So do two people in a small campground yurt.”

The Queen of the Huns is a little doll face with blood-red lips. “Do I have to drive a stake through his heart to stop him from mothering me?” She always asked me this kind of a question, then answered it herself with a ‘but.’

“Would you want to have your daughter marry a great Khan exactly like you?” she added. “Just walk out, Jalek and don’t turn back. I prefer to stay with this large extended family of Khazari until I decide what I want to do. That’s the only way I’ll remain Queen of my people.”

Jalek couldn’t stop laughing. Taklamakan was serious. Mother told her. I’ve told her. She wouldn’t listen.

He couldn’t believe it. “Taklamakan to live with a Khazar family?”

Jalek choked on his water laughing so loud, so strained, and so fake.

Mother pleaded with the Queen of the Huns to spend the night.

“Come, daven with us. Pray with us,” said mother.

I’m afraid of Jalek,” she sobbed. “He’s cruel—like his dad, and just as miserly.”

“So that’s it,” I said loudly. “It’s all about wealth.”

The makeup Taklamakan slapped on her teenage face looked like a clown. Her shiny black Asian hair flopped under the flickering oil lamps. Taklamakan is like a second daughter to my mother, the Khatun.

She braided her hair when the Queen of the Huns was a small child and we played together each time our peoples met in the steppes. In a war, a prayer, or a marriage, something usually goes chaotic.

Nothing can be planned to go a certain way. There’s always the law of chance, the unforeseen, or the unstable. There’s always something going awry on the fractal curve of life’s number game. That’s the way it is when you ride with the Queen of the Huns. Keep your bags packed. Jalek moved backwards, tearing the goblet from Taklamakan’s grip, and flinging her wedding bracelets onto the ground with a vengeance.

“Do you honestly think these trinkets you gave me will give you back your manhood?” Taklamakan laughed at him. “Or can only warfare achieve that?”

“Only you stand between me and my manhood.”

He reached out to touch her, but she jumped away. Jalek took Taklamakan in his arms and grinded his mouth on hers, forcing her back.

She pushed him away.

“It’s wrong. So terribly wrong,” she said sarcastically.

Hopelessly, he released her. “You’re mighty bitter for having been married only one day, my Queen.”

He turned to leave the room, but she blocked his path and grabbed his shoulders. “Why can’t you look me in the eye? Why can’t we talk anymore? You don’t have to be my husband. We can talk. We can be friends,” she demanded. “Now I realize I’m not looking for a husband after all. No, I don’t want one. I want a friend. I want my mother, a shoulder to cry on.”

He flung her into the wall, and her hand accidentally knocked a portrait to the carpet. He looked up in surprise to see the hole she had cut in that flimsy felt wall of the yurt leading to her quarters. Jalek ran over and poked his finger through.

“You spy,” he ranted. “You spied on me all this time. You were always watching me.”

“Maybe it’s time for us to go our separate ways,” Taklamakan calmly told her husband in almost a whisper. Our whole family now was in the room staring at the royal couple. Oh, how they must have dishonored themselves in front of our family.

She put her arms around him, but Jalek wrenched her wrist, twisting it so she dropped one of his trinket wedding bracelets. Sobs convulsed the Khan’s shuddering body. “I won’t give you the satisfaction of getting revenge. I’ll go quietly, my Queen.”

She retreated at his words, but he followed her, unaware of the pouch of coins he wore around his neck. He removed the sack and slowly put it on the table.

“I’m returning your parent’s bride wealth. I’m glad they weren’t here at this moment, and that our Khazar friends were, since they are neutral to our marriage.”

“I am not an animal. I’m a man.” He turned his back to her. “Do you see

the tail of a dog? No. I’m not an animal.”

Taklamakan crouched next to my skirts, cowering beside my table, her eyes wide with fright. Gibberish spilled from the twitching corners of her white-lined lips. The sounds angered him. She wiped the white foam from the corners of her mouth.

“I don’t care if you leave,” Taklamakan sobbed. “Jalek stole all my wealth and property. Now I have nothing. I’m a Queen without a country.”

My father walked in. I heard his footsteps above and know he watches everything below from his secret window above. This is his rooftop eagle’s nest. He has the view of a fish, at least when we have guests.

“Stay with us, Taklamakan,” father asked. “When you start to respect yourself again, you’ll be part of our family. I have the solution to all your problems.”

“Good bye.” Jalek walked out.

“Let him go,” I said.

Father took her hand and led her as he leads any of the large number of children in our royal Khazar family. “While you are still under twenty, ride the Torah of Time, the Steppes of Sanity, the Depths of Dreams, the Roads of Righteousness, and the Mountains of the Mighty with us. You’ll see the Silk Road a thousand times in new ways.

"Time travel and see the world in all its stages. The lesson you will have learned is that we all marry our mirrors—someone who reflects how we feel about ourselves at one moment of time. In another moment you might feel differently about yourself and choose another for an entirely different reason. Every wife is a mirror of her own husband’s failures, and every husband a victim of his wife’s success.”

With that, Taklamakan began to think about what he said. “A wife can mirror her husband’s successes too,” she added. “And a husband can diminish with his wife’s failures.”

“It works both ways, “father said. “Give yourself time. All we can offer you in Khazaria is time. “Now let me show you our secret cave where you can travel and learn by seeing the world that the more things change, the more they stay the same. This irony has been etched in sandstone now for what is it—six thousand years?”

All of a sudden up came a whirlwind in the clouds, and we found a cave beneath some branches where we tried to camp for the night. We went through the labyrinths of stalagmites and stalactites. I left little pieces of silver lace fabric as markers so we could find our way back in day or night. There was a dark cavern of sorts, and a fierce wind came up and pulled all of us through in a whirlwind.

A funnel of purple gray dragged each one of us up along with our four horses and the queen’s bier and her horses. From the ledge of a great calcite cliff, we flew into the blackness. You see, we have been to this place and time traveled to the same scene of what happened to my Khazaria many times, and we take our guests here to show them what will be so that they will gain insight, foresight, and hindsight.

The next instant a burst of sunlight blinded us for a few minutes, as we whirled through a large opening at one end and a small opening at the other. And suddenly we were on the outside of cave, but where were we? Nothing looked familiar. And the noise, the incredible noise thundered and fired around us.

We were strangers in a strange land, and time stood still. No, not quite. It moved drastically forward. “We will be sold as slaves in this strange place,” the Khagan shouted to the Khatun. The place was the same, but time shifted and moved its foundation.

We were on the other side of time.

“Wait, let’s find out.”

Before we had time to recover our wits, great there came a sound like the roar of lions and moved forward faster than anything we could have imagined. “Where are we?” I demanded, and no one had the answer—yet. All I knew is that we had awoken in another time, in the probable future, because our beloved Sarkel was destroyed, yet we were suddenly back in Khazaria in another time and in the middle of a war.

I later found out we had been swept more than one hundred summers into the future, when the Kievan prince had destroyed Sarkel and our people had to flee to a new homeland. But wait, my brother will tell you this part of our tale so I can take my evening meal.

                                                                        #

Author's Bio

Anne Hart has written 87+ paperback books currently in print with various online booksellers and several E-books for Amazon Kindle. She's a retired creative writing educator and editor (since 1972) and author (since 1959). Her Facebook Group on creativity enhancement and resources for writers is at: https://www.facebook.com/groups/healthresearchnews/. You also can read her almost daily blog at: http://anne-hart-writes.blogspot.com/2016/06/here-are-50-strategies-on-how-to-write.html.

If you're interested in various stories or novels set in the medieval Caucasus or Steppes north of the Black Sea, or in ancient Rome, you may wish to see some of this author's novels such as: Adventures in My Beloved Medieval Alania and Beyond: A Time-Travel Novel Set in the 10th Century Caucasus Mountains. (2009), or Proper Parenting in Ancient Rome: A Time-Travel Novel of Love as Growth of Consciousness & Peace in the Home. (2007).

$0.99 to buy

https://www.amazon.com/Farblundget-woman-without-knowing-morning-ebook/dp/B01H6C8KGA/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1466277529&sr=1-1&keywords=anne+hart

Farblundget: The Novel: A woman without a man can go to bed knowing she'll still be alive in the morning. Kindle Edition

Farblundget. (Bewildered)

A woman without a man can go to bed knowing she'll still be alive in the morning. A wife isn’t supposed to complain about her cold-fish husband according to etiquette.

As with the protagonist's mother and some women generations before her, she's a low self-esteem, low confidence wife who assumes that she can’t take care of herself, married to a man who can’t take care of his wife.

He’s a commanding, bullying, whining and volcanic with low serotonin levels, high narcissism and worry about self image, and she's financially dependent upon him in her old age and nearly penniless compared to most other women with graduate school liberal arts educations.

She's shy, frightened, old, and spent, but she likes the free rent, the backyard, and her doggies who do show her affection by wagging their tails when she gives them their food and gentle touches. She isn't planning to budge unless she's thrown to the curb. Then she will be a homeless old woman, she decides, with on and off agoraphobia and panic disorder.

Her husbands became abusive dads to her, just like her own dad, acted with his wife, her mother. Since her present husband abuses her less than the first husband did, she'll stay as long as there’s money to pay the taxes on the house and keep food in the fridge.

She loves reading romance and writing romance novels. How do you write about a world of romance, of push and pull, and happily ever after when romance just isn't in the home, not in the way she writes about it with flowers and travel, honeymoons and weddings, both of which she's never had, at least not without being gaslighted, abused, wracked, cracked, fracked, drilled and financially milled while writing of love everlasting.

'Farblundget' also means confused, sometimes by unpredictability and/ or too many surprises.

This novel is about the fictional experiences of a wife in a multicultural, interfaith marriage and her childhood and coming-of-age era in which she grew up. She has to either transcend her past choices and move on or try to preserve her serenity by trying to slow down the changes that come with different stages of life and marriage.

Here's the informational link to the novel:

https://www.amazon.com/Farblundget-woman-without-knowing-morning-ebook/dp/B01H6C8KGA/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1466277529&sr=1-1&keywords=anne+hart

Below is the link to the Kindle E-book Play or Script based on the novel:

Farblundget: The Play or Film Script: A woman without a man can go to bed knowing she'll still be alive in the morning. Kindle Edition. Based on the Novel: Farblundget.

$0.99 to buy

The Play or Script informational link

https://www.amazon.com/Farblundget-Script-without-knowing-morning-ebook/dp/B01H65BE06/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1466275711&sr=1-2&keywords=farblundget%2C+anne+hart

This play is about the fictional experiences of a wife in a multicultural, interfaith marriage and the childhood and coming-of-age she grew up with that leads up to her choices and outcomes in marriage.

'Farblundget' means bewildered, confused by too much unpredictability or too many surprises.

A woman without a man can go to bed knowing she'll still be alive in the morning. A wife isn’t supposed to complain about her cold-fish husband according to etiquette.

As with the protagonist's mother and some women generations before her, she's a low self-esteem, low confidence wife who assumes that she can’t take care of herself, married to a man who can’t take care of his wife.

He’s a commanding, bullying, whining and volcanic with low serotonin levels, high narcissism and worry about self image, and she's financially dependent upon him in her old age and nearly penniless compared to most other women with graduate school liberal arts educations.

She's shy, frightened, old, and spent, but she likes the free rent, the backyard, and her doggies who do show her affection by wagging their tails when she gives them their food and gentle touches. She isn't planning to budge unless she's thrown to the curb. Then she will be a homeless old woman, she decides, with on and off agoraphobia and panic disorder.

Her husbands became abusive dads to her, just like her own dad, acted with his wife, her mother. Since her present husband abuses her less than the first husband did, she'll stay as long as there’s money to pay the taxes on the house and keep food in the fridge.

She loves reading romance and writing romance novels. How do you write about a world of romance, of push and pull, and happily ever after when romance just isn't in the home, not in the way she writes about it with flowers and travel, honeymoons and weddings, both of which she's never had, at least not without being gaslighted, abused, wracked, cracked, fracked, drilled and financially milled while writing of love everlasting.

'Farblundget' also means confused, sometimes by unpredictability and/ or too many surprises.

This novel and the play based on the novel, is about the fictional experiences of a wife in a multicultural, interfaith marriage and her childhood and coming-of-age era in which she grew up. She has to either transcend her past choices and move on or try to preserve her serenity by trying to slow down the changes that come with different stages of life and marriage.

This play, based on my novel, is about the fictional experiences of a wife in a multicultural, interfaith marriage. The chapters, like stages of life, reveal the childhood and coming-of-age events that she grew up with that leads up to her choices and outcomes in marriage.

The Play or Script informational link:

https://www.amazon.com/Farblundget-Script-without-knowing-morning-ebook/dp/B01H65BE06/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1466275711&sr=1-2&keywords=farblundget%2C+anne+hart

You may wish to see the March 7

Books by Anne Hart

 

Why are various meats still cured with sodium nitrite when curing could take place with dried fruit--such as raisins?

 

You may wish to see the March 7, 2012 news release, "Excessive cured meat consumption increases risk of hospital readmissions for COPD patients." An excessive intake of cured meats, such as salami, chorizo and bacon, can increase readmission to hospital for people with chronic obstructive pulmonary disease (COPD), according to a study by Spanish researchers from the Centre for Research in Environmental Epidemiology (CREAL) in Barcelona. It would be healthier to simply cure meats with raisins than with sodium nitrite.

 

The research, "Cured meat consumption increases risk of readmission in COPD patients," in print, also appears online in the European Respiratory Journal since March 8, 2012. Previous research has shown a link between the intake of cured meats and the risk of developing COPD. However, this study is the first to show the effects of cured meat consumption on the progression of the disease. Wouldn't it be easier to cure meat with raisins, if you must eat cured meats?

 

California raisins may soon be starring in a new role: Keeping beef jerky tasty, more nutritious and safe. Food science researchers at Oregon State University (OSU) have determined that raisins are a great substitute for sodium nitrite, a preservative commonly used in beef jerky. Mark Daeschel, an OSU food scientist, is a specialist in natural "antimicrobials" - natural substances added to food that inhibit the growth of harmful microorganisms.

 

You may wish to see the May 9, 2003 news release, "Raisins may find use in jerky." He and OSU research assistants Karl Schilke and Cindy Bower have completed research indicating that ground up raisins work just as well as the preservative sodium nitrite, typically used as a processed meat preservative by the food industry, the news release explains. Raisins can cure meat in healthier ways than nitrites.

 

Raisins in your jerky soup, all of them doing loop-de-loop? Raisins instead of sodium nitrite or other preservatives may be the way to go. Sacramento's famous California raisins may be starring in a new role: keeping beef jerky tasty, more nutritious and safe, according to a new study from Oregon State University. You don't need to use sodium nitrite to preserve your jerky. You can use raisins instead.

 

When you put raisins into your jerky, one result is that there's less fat in the jerky. You now have more fiber and more antioxidants that you'd have just by using sodium nitrite as a preservative in the jerky. Also with the latest news about contaminated jerky made with imported ingredients, maybe it's time to make your own jerky for humans or pets.

 

Dogs and meat jerky treat problems

 

Check out, "New Surge in Dog Deaths From Pet Jerky From China, FDA." You could use raisins as a preservative for making jerky for human consumption, for your family. But raisins/grapes are toxic to your dog. See, "Grape and Raisin Toxicity in Dogs | VCA Animal Hospitals." So don't use grapes or raisins in dog food or treats.

 

As far as preservatives used in making jerky for humans, food science researchers at Oregon State University (OSU) have determined that raisins are a great substitute for sodium nitrite, a preservative commonly used in beef jerky. Mark Daeschel, an Oregon State University (OSU) food scientist, is a specialist in natural "antimicrobials" - natural substances added to food that inhibit the growth of harmful microorganisms.

 

Sodium nitrite has been found to break down into cancer-causing chemicals during digestion

 

He and OSU research assistants Karl Schilke and Cindy Bower have completed research indicating that ground up raisins work just as well as the preservative sodium nitrite, typically used as a processed meat preservative by the food industry, according to a May 9, 2003 news release, "Raisins may find use in jerky." The research results was published in a 2003 issue of the Journal of Food Science. Also see the abstract of another study on using raisins to preserve foods such as bread, in this other, later study, "Application of Raisin Extracts as Preservatives in Liquid Bread and Bread Systems."

 

In the raisins used as a preservative for making jerky study, it's noteworthy that raisins can kill some bacteria. "Raisins performed as an antimicrobial at least as well as sodium nitrite in jerky," said Daeschel, according to the May 9, 2003 news release, "Raisins may find use in jerky." Sodium nitrite has been found to break down into cancer-causing chemicals during digestion. In addition inhibiting bacterial growth, raisins bring multiple nutritional benefits to jerky over jerky made with typical preservatives.

 

Daeschel and his colleagues found that adding raisins to jerky inhibited bacterial growth, especially the types prevalent in food borne illness: E. coli, Staphylococcus aureus and Listeria monocytogenes

 

"First, when you add raisins to jerky, it means there is less fat in the jerky," he said in the news release. "Plus, raisins are high in antioxidants and have lots of fiber. Consumers are looking for all these characteristics - low fat, high fiber and antioxidants."

Raisin additives may be of benefit especially to those on sodium-restricted diets, he said. "Traditionally, high sodium foods such as beef jerky are restricted for patients on low salt diets," he said. "The substitution of raisins for a high nitrite curing mix may make beef jerky accessible to these people again." Why do raisins work so well as a preservative in jerky?

 

Raisins are high in sugar and acidic which helps to inhibit the growth of microbes in the food

 

Raisins are high in sugar, which inhibits microbial growth associated with spoiled food and food borne illness, explained Daeschel in the news release. "The sugar makes the water in food less available to microbes." And raisins are acidic, which also discourages microbes.

 

With a grant from the California Raisin Board, Daeschel and his colleagues in OSU's Department of Food Science and Technology evaluated the taste, texture, antioxidant potential and antimicrobial properties of jerky made with ground beef. They compared these properties of the raisin jerky to typical commercial-type jerky made with sodium nitrite and jerky made without any preservatives.

 

In blind taste tests, a scientific panel in OSU's Sensory Research Laboratory in Corvallis evaluated the three types of jerky for flavor, texture, chewiness, overall liking and appearance

 

"Panelists ranked the 10 percent raisin jerky as superior to the nitrite control in terms of overall liking, flavor, texture, and appearance," said Daeschel in the news release. "They said sweet and tangy flavor imparted by the raisins was pleasing and that it made the jerky seem less salty."

 

Why did he use raisins?

 

"The raisin industry is always looking for new uses for its product," he explained in the news release. "We tried to come up with some type of food product whose flavor would be compatible with raisins. Then we came up with beef jerky. It's sweet and sour.

 

"Raisins have showed us they offer multiple benefits as an additive," added Daeschel in the news release. "People liked the texture and flavor, they inhibited bacterial growth and added nutrition. Plus raisins can be used in place of more harmful preservatives. Another benefit is that the high antioxidant levels in raisins may decrease off-flavors associated with oxidation or rancidity. We'd like to investigate that next." Daeschel thinks that raisins may also prove valuable in vegetarian products such as meatless burgers and sausage.

 

Where sodium nitrite is used to poison unwanted wild pigs

 

The chemical used to cure bacon, beef jerky, some hot dogs, and various types of deli meats, sodium nitrite, has been approved as a poison to use to dispatch wild pigs that eat food from people's yards and farms, according to the June 21, 2014 Associated Press article, "USDA testing sodium nitrite to poison feral hogs, which do $800M damage a year to US farms." Currently, sodium nitrite is being tested as poisonous bait put in traps to do away with wild pigs.

 

Scientists say sodium nitrite is far more toxic to pigs than people. The poison is used in Australia and New Zealand to kill feral swine. USDA scientists say it may be the best way to get rid of wild boars in the U.S., but they're not yet ready to ask for federal approval as pig poison.

 

Hunting and trapping won't get rid of the wild pigs, say farmers and some scientists, because the wild pigs breed too prolifically. The news is that the U.S. Department of Agriculture now has started a $20 million program this year to control feral swine, which have spread from 17 states in 1982 to 39 this year.

 

Other animals are being poisoned by the bait

 

First the researchers have to cook up a type of bait that contains enough sodium nitrite to make a lethal dose for the wild pigs. The taste of sodium nitrite is bad, and the pigs won't take to the salty, bitter taste very much. Second, the sodium nitrate breaks down in the air or water. The pigs can sniff it out, and like any other animal, will tend to avoid the poison because it tastes bad.

 

To outsmart the pig's taste and nose, the sodium nitrite, as a powder is put in a micro capsule to hid the smell, taste, and keep it stable. But another problem is other animals break into the bait dispenser. So the researchers have to build a bait dispenser that only pigs can access. Racoons already have eaten the bait from the dispenser in the test stage. What next, a bear, or a domestic animal, or someone's pet? For more information, you may check out, "QA sodium nitrite - Environmental Protection Authority."

 

You also may wish to read in the article, "'HOG‑GONE®' and how - Feral.org.au," about how sodium nitrite is used to kill wild pigs there. Before the sodium nitrite, the wild pigs in Australia were dispatched with warfarin, the same chemical given to humans to thin their blood if they have specific health problems such as the tendency to form blood clots or hardened arteries and too-thick blood.

 

See, "New feral pig toxins, baits and delivery systems « Invasive Animals." As far as wild pigs as a nuisance to farmers, the domestic pigs are bringing in money. It's noteworthy to contemplate how many poisons also are given to humans in specific amounts as prescription medicines rather than focusing on changes in diet. You may wish to see, "Native non-target sensitivity testing and humaneness testing of a new feral pig toxicant.

 

Are humans eating too much sodium nitrite in processed deli-type meats or bacon?

 

Is there a connection between the amount of nitrates in farming soil and diseases such as Alzheimer's, Parkinson's disease and diabetes mellitus? Scientists are studying environmental links to these diseases through nitrates in the soil where vegetables and fruits are grown. And how many nitrates are in Sacramento's farming soil, if any? Are these nitrates, perhaps coming from various fertilizers?

 

Researchers found strong parallels between age adjusted increases in death rate from Alzheimer's, Parkinson's, diabetes, and the progressive increases in human exposure to nitrates, nitrites and nitrosamines through processed or preserved foods as well as fertilizers.

 

There's also an environmental link to Alzheimer's, say scientists

Have you ever wondered what the effects of eating bacon, hot dogs, and other deli meats cured with nitrites has on your health if you've been eating these foods almost all your life? In Providence, Rhode Island, a new study published in July 2009 by researchers at Rhode Island Hospital has found a substantial link between increased levels of nitrates in our environment and food with increased deaths from diseases, including Alzheimer's, diabetes mellitus and Parkinson's.

 

The study, "Epidemilogical Trends Strongly Suggest Exposures as Etiologic Agents in the Pathogenesis of Sporadic Alzheimer's Disease, Diabetes Mellitus, and Non-Alcoholic Steatohepatitis," is published in the Journal of Alzheimer's Disease, (July 2009) pp 519-529. Researchers in the study are: de la Monte, Suzanne M., Alexander Neusner, Jennifer Chu and Margot Lawton.

 

Low levels of nitrosamine exposure cause neurodegeneration, NASH, and diabetes, notes the study

 

You also may wish to take a look at the abstract of another study, "Nitrosamine exposure causes insulin resistance diseases: relevance to type 2 diabetes mellitus, non-alcoholic steatohepatitis, and Alzheimer's disease," appearing in the Journal of Alzheimer's Disease, 2009. In the Rhode Island Hospital study, researchers have found possible environmental causes for Alzheimer's and diabetes.

 

Scientists are calling for a reduction of nitrate levels in fertilizer and water, and also detoxifying tap water and food from common environmental toxins, including reducing the nitrosamines in preserved foods.

 

The build-up of plaque from beta-amyloid deposits is associated with an increase in brain cell damage and death from oxidative stress. This is related to a loss of cognitive function and an increased risk of Alzheimer’s, the most common form of dementia, which currently affects over 13 million people worldwide.

 

Researchers have found a link between increased exposure to fertilizer, processed foods and increased deaths associated with insulin-resistant diseases

 

We have become a "nitrosamine generation" receiving increased exposure to dangerous compounds, which pose a threat at low levels of exposure. The prevalence rates of these diseases have increa

In the Rhode Island Hospital research, led by Suzanne de la Monte, MD, MPH, of Rhode Island Hospital, researchers studied the trends in mortality rates due to diseases that are associated with aging, such as diabetes, Alzheimer’s, Parkinson’s, diabetes and cerebrovascular disease, as well as HIV.

 

Other diseases including HIV-AIDS, cerebrovascular disease, and leukemia did not exhibit those trends. de la Monte and the authors propose that the increase in exposure plays a critical role in the cause, development and effects of the pandemic of these insulin-resistant diseases.

 

de la Monte, who is also a professor of pathology and lab medicine at The Warren Alpert Medical School of Brown University, says, “We have become a 'nitrosamine generation'"

In essence, we have moved to a diet that is rich in amines and nitrates, which lead to increased nitrosamine production. We receive increased exposure through the abundant use of nitrate-containing fertilizers for agriculture.”

 

She continues, according to the news release, "Not only do we consume them in processed foods, but they get into our food supply by leeching from the soil and contaminating water supplies used for crop irrigation, food processing and drinking."

 

Nitrites and nitrates belong to a class of chemical compounds that have been found to be harmful to humans and animals: More than 90 percent of these compounds that have been tested have been determined to be carcinogenic in various organs

 

Nitrites are found in many food products, including fried bacon, cured meats and cheese products as well as beer and water. Exposure also occurs through manufacturing and processing of rubber and latex products, as well as fertilizers, pesticides and cosmetics.

Nitrosamines are formed by a chemical reaction between nitrites or other proteins. Sodium nitrite is deliberately added to meat and fish to prevent toxin production. It's also used to preserve, color and flavor meats. Ground beef, cured meats and bacon in particular contain abundant amounts of amines due to their high protein content.

 

Sodium nitrite is added to meat and fish to prevent toxin production

 

Because of the significant levels of added nitrates and nitrites, nitrosamines are nearly always detectable in these foods. Nitrosamines are also easily generated under strong acid conditions, such as in the stomach, or at high temperatures associated with frying or flame broiling. Reducing sodium nitrite content reduces nitrosamine formation in foods.

Nitrosamines basically become highly reactive at the cellular level, which then alters gene expression and causes DNA damage.

 

The researchers note that the role of nitrosamines has been well-studied, and their role as a carcinogen has been fully documented. The investigators propose that the cellular alterations that occur as a result of nitrosamine exposure are fundamentally similar to those that occur with aging, as well as Alzheimer's, Parkinson's and Type 2 diabetes mellitus.

 

de la Monte comments, according to the July 5, 2009 news release, Researchers find possible environmental causes for Alzheimer's, diabetes, "All of these diseases are associated with increased insulin resistance and DNA damage. Their prevalence rates have all increased radically over the past several decades and show no sign of plateau. Because there has been a relatively short time interval associated with the dramatic shift in disease incidence and prevalence rates, we believe this is due to exposure-related rather than genetic etiologies."

 

The researchers recognize that an increase in death rates is anticipated in higher age groups. Yet when the researchers compared mortality from Parkinson's and Alzheimer's disease among 75 to 84 year olds from 1968 to 2005, the death rates increased much more dramatically than for cerebrovascular and cardiovascular disease, which are also aging-associated.

 

Are people exposed to an increase in toxins in their cured foods that comes from the curing process?

 

For example, in Alzheimer’s patients, the death rate increased 150-fold, from 0 deaths to more than 150 deaths per 100,000. Parkinson’s disease death rates also increased across all age groups. However, mortality rates from cerebrovascular disease in the same age group declined, even though this is a disease associated with aging as well.

de la Monte notes, according to the news release, "Because of the similar trending in nearly all age groups within each disease category, this indicates that these overall trends are not due to an aging population.

 

This relatively short time interval for such dramatic increases in death rates associated with these diseases is more consistent with exposure-related causes rather than genetic changes.” She also comments, "Moreover, the strikingly higher and climbing mortality rates in older age brackets suggest that aging and/or longer durations of exposure have greater impacts on progression and severity of these diseases."

 

The researchers graphed and analyzed mortality rates, and compared them with increasing age for each disease

 

They then studied United States population growth, annual use and consumption of nitrite-containing fertilizers, annual sales at popular fast food chains, and sales for a major meat processing company, as well as consumption of grain and consumption of watermelon and cantaloupe (the melons were used as a control since they are not typically associated with nitrate or nitrite exposure).

 

The findings indicate that while nitrogen-containing fertilizer consumption increased by 230 percent between 1955 and 2005, its usage doubled between 1960 and 1980, which just precedes the insulin-resistant epidemics the researchers found. They also found that sales from the fast food chain and the meat processing company increased more than 8-fold from 1970 to 2005, and grain consumption increased 5-fold.

 

The authors state that the time course of the increased prevalence rates of Alzheimer's, Parkinson's and diabetes cannot be explained on the basis of gene mutations

 

They instead mirror the classical trends of exposure-related disease. Because nitrosamines produce biochemical changes within cells and tissues, it is conceivable that chronic exposure to low levels of nitrites and nitrosamines through processed foods, water and fertilizers is responsible for the current epidemics of these diseases and the increasing mortality rates associated with them.

 

de la Monte states, according to the news release, "If this hypothesis is correct, potential solutions include eliminating the use of nitrites and nitrates in food processing, preservation and agriculture; taking steps to prevent the formation of nitrosamines and employing safe and effective measures to detoxify food and water before human consumption."

 

Other researchers involved in the study with de la Monte include Alexander Neusner, Jennifer Chu and Margot Lawton, from the departments of pathology, neurology and medicine at Rhode Island Hospital and The Warren Alpert Medical School of Brown University. The National Institutes of Health funded the study from grants.

 

Two subsequent papers have been published that demonstrate experimentally that low levels of nitrosamine exposure cause neurodegeneration, NASH and diabetes. So if farmers are poisoning pigs with nitrates, why are various meats still cured with sodium nitrite when curing could take place with dried fruit--such as raisins?

Here Are 50 Strategies on How to Write A Life Story as a Play

I've written 87 paperback books books currently in print and several E-books for Kindle. I'm a retired creative writing editor (since 1972) and author (since 1959).

You're welcome to join my Facebook group on creativity enhancement and resources for writers and more at:  https://www.facebook.com/groups/healthresearchnews/ 

Or check out one of my numerous E-books such as Writing Outside the Box.

Some of my E-books also are listed at: http://anne-hart-writes.blogspot.com/2016/06/heres-list-of-links-to-some-of-my.html.

Or view a list of my paperback books

I've written 87 paperback books books currently in print and several E-books for Kindle. I'm a retired creative writing editor (since 1972) and author (since 1959).

You're welcome to join my Facebook group on creativity enhancement and resources for writers and more at:  https://www.facebook.com/groups/healthresearchnews/ 

Or check out one of my numerous E-books such as Writing Outside the Box.

Some of my E-books also are listed at: http://anne-hart-writes.blogspot.com/2016/06/heres-list-of-links-to-some-of-my.html.

Or view a list of my paperback books

I've written 87 paperback books books currently in print and several E-books for Kindle. I'm a retired creative writing editor (since 1972) and author (since 1959).

You're welcome to join my Facebook group on creativity enhancement and resources for writers and more at:  https://www.facebook.com/groups/healthresearchnews/ 

Or check out one of my numerous E-books such as Writing Outside the Box.

Some of my E-books also are listed at: http://anne-hart-writes.blogspot.com/2016/06/heres-list-of-links-to-some-of-my.html.

Or view a list of my paperback books

I've written 87+ paperback books currently in print and also several E-books for Amazon Kindle. I'm a retired creative writing educator and editor (since 1972) and author (since 1959).

You're welcome to join my Facebook group on creativity enhancement and resources for writers and more at:  https://www.facebook.com/groups/healthresearchnews/ 

Or check out one of my numerous E-books such as Writing Outside the Box.

Some of my E-books also are listed at: http://anne-hart-writes.blogspot.com/2016/06/heres-list-of-links-to-some-of-my.html.

Or view a list of my paperback books

Yes you can turn a sow's ear into a purse that feels like silk to the touch. While teaching a creativity enhancement class for writers, I handed in a paper reminding students how some scientists could turn a sow’s ear into a silk purse. Invention for writers is one way to think out of the box.

The purpose in revealing this to creative writing students of mine when I taught university-level courses in writing many years ago focused on showing students how to re-purpose one tangible or intangible thing or concept into another so that everything that began with stardust eventually becomes, turns into, or moves beyond a work of art, craft, or business, science, nature, or technology.

If a suit of clothing eventually becomes a cloth-covered button or a story becomes a published books, or paper recycles into compost to grow a tree once again, then the basics of everything moves in a circle to shift into another form, including creative ideas for writers. That's one form of thinking about creativity enhancement for writers or inventors in a wide variety of fields.

Who says you can’t make a silk purse out of a sow’s ear? When teaching creativity enhancement for writers and artists, the purpose and goal is to question everything tangible and intangible, including your own ideas and decisions. Think for yourself.

If it isn’t broken, break it, then improve it, and only when the benefit is greater than the risk if the improvement is necessary. Some universal values don't need fixing, such as being polite, smiling, and treating others the way you'd just love to be treated.”

Here's an example of thinking outside the box that may be of value to writers seeking to enhance creativity.  It turns out in 1921, a Boston chemist obtained a batch of female pigs’ ears from a slaughterhouse.

According to a clipping I read many years ago from the newspaper column “Dear Abby,” all you have to do was to reduce the ears to gelatin by cooking them down and spinning the ears into thread using a machine that spins gelatin into thread.

Now you can take out your loom, crochet, or knitting needles and weave or knit the thread into a purse. In fact, that Boston chemist wove two purses, and one of the purses is still in the collection of the Smithsonian’s National Museum of American history. So much for science class for creative writers looking for fresh ideas that aren't so new after all.

Read the information about the chemical experiment to turn sows ears into a silk purse, and see a photo of the purse made from the sows' ears at the website, "MIT Institute Archives & Special Collections Report: "On the Making of Silk Purses from Sows' Ears," 1921. Or see the website with the report at: https://libraries.mit.edu/archives/exhibits/purse/.

Yes, you can create art and/or various tangible items from many different types of materials and media. And the intangible and tangible both come from seeing through to completion an idea, image, or story.

On the other hand, not much of a purse can be made from only one sow's ear, of course, maybe some short length of silky thread that perhaps may or not be long enough to be woven a few inches in length to sew on a button.

It took a lot of sows' ears purchased from a slaughter house to weave that purse. If those hundreds of sows sent to the slaughterhouse to turn their ears into chewing exercise for dogs or to provide pickled ears in jars for some human gourmets -- could speak, surely they'd tell scientists to please make purses out of plant-based woven or silk-worm produced threads, and leave their ears for listening.

Yes you can turn a sow's ear into a purse that feels like silk to the touch. While teaching a creativity enhancement class for writers, I handed in a paper reminding students how some scientists could turn a sow’s ear into a silk purse. Invention for writers is one way to think out of the box.

The purpose in revealing this to creative writing students of mine when I taught university-level courses in writing many years ago focused on showing students how to re-purpose one tangible or intangible thing or concept into another so that everything that began with stardust eventually becomes, turns into, or moves beyond a work of art, craft, or business, science, nature, or technology.

If a suit of clothing eventually becomes a cloth-covered button or a story becomes a published books, or paper recycles into compost to grow a tree once again, then the basics of everything moves in a circle to shift into another form, including creative ideas for writers. That's one form of thinking about creativity enhancement for writers or inventors in a wide variety of fields.

Who says you can’t make a silk purse out of a sow’s ear? When teaching creativity enhancement for writers and artists, the purpose and goal is to question everything tangible and intangible, including your own ideas and decisions. Think for yourself.

If it isn’t broken, break it, then improve it, and only when the benefit is greater than the risk if the improvement is necessary. Some universal values don't need fixing, such as being polite, smiling, and treating others the way you'd just love to be treated.”

Here's an example of thinking outside the box that may be of value to writers seeking to enhance creativity.  It turns out in 1921, a Boston chemist obtained a batch of female pigs’ ears from a slaughterhouse.

According to a clipping I read many years ago from the newspaper column “Dear Abby,” all you have to do was to reduce the ears to gelatin by cooking them down and spinning the ears into thread using a machine that spins gelatin into thread.

Now you can take out your loom, crochet, or knitting needles and weave or knit the thread into a purse. In fact, that Boston chemist wove two purses, and one of the purses is still in the collection of the Smithsonian’s National Museum of American history. So much for science class for creative writers looking for fresh ideas that aren't so new after all.

Read the information about the chemical experiment to turn sows ears into a silk purse, and see a photo of the purse made from the sows' ears at the website, "MIT Institute Archives & Special Collections Report: "On the Making of Silk Purses from Sows' Ears," 1921. Or see the website with the report at: https://libraries.mit.edu/archives/exhibits/purse/.

Yes, you can create art and/or various tangible items from many different types of materials and media. And the intangible and tangible both come from seeing through to completion an idea, image, or story.

On the other hand, not much of a purse can be made from only one sow's ear, of course, maybe some short length of silky thread that perhaps may or not be long enough to be woven a few inches in length to sew on a button.

It took a lot of sows' ears purchased from a slaughter house to weave that purse. If those hundreds of sows sent to the slaughterhouse to turn their ears into chewing exercise for dogs or to provide pickled ears in jars for some human gourmets -- could speak, surely they'd tell scientists to please make purses out of plant-based woven or silk-worm produced threads, and leave their ears for listening.

Here's how to write, design, and produce scripts for those nearly half-hour media infomercials and also how to write animation and computer and video game scripts with a wide variety of applications to education, entertainment, or business. Expert copywriters are still in demand and can work at home, online, or at a business/corporate location.

Part three of this brief book also introduces the reader to the reality and some resources for more information about the trend of outsourcing journalists, writers, producers, animators, artists, designers, commentators, editors, publishers, technical professionals and other media professionals.

• File Size: 34265 KB
• Simultaneous Device Usage: Unlimited
• Publisher: Anne Hart; 1 edition (May 31, 2016)
• Publication Date: May 31, 2016
• Sold by: Amazon Digital Services LLC
• Language: English
• ASIN: B01GGKC76W
• Text-to-Speech: Enabled

Making Pop-Up Memoirs Gift Books

If you’re older and need a workout session for your brain, try making pop up books as gifts. It’s like paper folding. I teach senior citizens how to make life story memoirs gift books and/or record with camcorder and save on a DVD life story skits, plays, and pop-up books. Here’s how to make paper pop up books. It’s like origami, and great for helping your memory and mind stay younger.

Pop-up books can be made for grown-ups, using color copies of almost any item produced on heavy paper of photographs or other art work. Pop-ups for children also can be made, including greeting card pop-ups to promote the book or rotating disks or leaves and pop-ups set in the center of the book. Three-dimensional folded paper glued into a book present the element of surprise. Make keepsake albums or gift memoirs books.

Ideas for pop-ups include baby and wedding photos or miniature awards and diplomas. Learn what questions to ask and how to interview people for the significant moments in their life stories, and then write, publish, and bind by hand exquisitely-crafted personal gift books.

When you craft a book entirely by hand and bind it in fine materials also by hand, being careful to use acid-free paper, you might also wish to illustrate the book yourself. Let’s propose you’re writing a children’s pop-up book about a child who is a relative. You’re going to bind the book yourself, taking lessons from the many courses in hand book-binding already on the Internet. Here’s how to illustrate the book.

If you write a children's book about your child or grandchild, try illustrating your children's book yourself on silk, coarse linen, or percale. You can even use a linen handkerchief or scarf. Frequently your artwork is wrapped around a drum, that is always curved, and illustration board won't wrap around a drum without bending and cracking.

            If you decide to publish a non-fiction children's book, which will have less chance of losing in competition for entertainment against the best-selling fiction books, focus on a how-to book giving children of middle grades or their parents in picture books, information to read to children or instruction for children in how to build or do something they can't find quickly online or in a library, such as how to build or make something that children cherish.

            To illustrate on fabric, mount the fabric on illustration board when you put your final drawing on fabric. Silk is preferred for a final draft. The artwork gets scanned into a computer, but has to roll around on a curved surface, a drum in order to be scanned to make a children's book. That's how most publishers work. If you’re having the book privately printed, find out the size of the drum so you can adjust or reduce the fabric before it gets scanned and the size adjusted once more.

            The top layer of the art to be scanned sometimes is set up to be peeled off. Take a sheet of illustration board and mount silk on it, or coarse linen. Sometimes illustration board is too stiff when you cover it with fabric, and it won't peel right. So use this method. Get a sheet of Mylar or matte plastic. This is a type of film. Mount very fine white silk with water mixed with acrylic matte medium. I learned this method from the writings of the late Barbara Cooney, author and illustrator of more than 100 children's books and winner of the Caldecott medals and the American Book Award.

            Cooney loved to mount the fine white silk with water and acrylic matte medium and then let it dry. The next step is to take a roller and put on a layer of diluted acrylic gesso. Then let that dry.

            Sand the surface using very fine garnet paper. Cooney liked to repeat the second and third step until two to four layers of gesso were built up. What you want to get is a flexible fabric full of your illustration. Cooney described the result as an "egg-shell texture." She used titanium white in her acrylic paintings. Your color will be titanium white also.

            Not many children's book writers know this technique of painted on mounted silk when they illustrate children's books, and publishers will be impressed with the professional technique, but in case no publisher can be found, you have an illustration for your children's book that will wrap around that drum, curving without cracking. Keep on writing and illustrating.

            If color is too expensive for your budget, stick to black and white, and let the children color your book as they read or are read to from the text. Keep the text about one paragraph per page for a preschool book that will be read to children, and increase text for older children or illustrated gift books. When you make only one or two copies of a book that is entirely hand-made, you can do everything yourself or bring your materials to a printer.

To make more copies, scan into your personal computer each step of your book. Scan photos and art work at least at 300 dpi and large enough, at least 6 by 9 inches. Save text documents, for example as a Microsoft Word document. (Or use the equivalent in any other software word processing application.) Text size usually is letter size, which is 8 ½ by 11 inches. That way you can save your book to a CD or DVD with one file for photos and another for text.

Additionally, you can save a copy of your entire book in another file, organized with the text and photos interspersed the way you want to lay out the entire manuscript. The CD or DVD can be brought to most printers for additional copies of the book. Finally, you can bind the book in exquisite materials by hand using paper and covers that resist acid and oxidation when the book is handed to the next generation. Personal gift books also can be pop-up books for children or grown-ups using themes of significant events and experiences that are meant to me remembered and discussed.

Concrete Pop-Up Books

            There are two kinds of pop-up books, concrete paper and glue that you can fold with your hands and abstract pop-up shapes saved in a computer file or on a disc. Let’s begin with making a simple concrete pop-up that is glued into a book. When the book is opened to a particular page, the folded paper opens suddenly as if it is on springs. A pop-up inserted in a memoirs gift book can be made from a paper-cut illustration or drawing.

Supplies Needed for Simple Paper Pop-Ups

            You’ll need a template for scoring and cutting. You can make a template by scoring art work. Or have a printer make the template for you. If your printer isn’t able to make a template, ask your local university to recommend an engineering or art student who has studied three dimensional art, origami, or making pop-ups. A template may be made from a photograph that is reduced to the size you want and copied on a color copier. The following are the items to be assembled before beginning.

Template

Water colors or colorful inks

White glue that dries transparent

Paper clips

Straight edge or ruler

            After you’ve made your illustration or had a photo color-copied to heavy paper, use the round edge of a paper clip to score little broken dots or lines so that the paper will fold along those lines you have scored. Don’t cut the scored lines. Only cut the solid lines.

Templates are labeled with letters of the alphabet such as A, B, C, and D. Usually templates follow a pattern such as beginning with A, which is scored and folded back. Then you fold along the dotted scored lines but not the solid lines. You’d follow through folding scored sides C and D forward. Then you’d glue the back side of the first panel to the back side of the second panel.

The panels would be numbered in linear order such as panel 1 and panel 2. You’d follow step-by-step in the order of the numbers or letters. Then you’d repeat for panels 3 and 4. So you’d begin logically with number 1 and end with number 4. You’d start with scored side A and end with scored side D. The folds would add up to a four-sided square. If you had a picture that folded into a pop-up with more or less sides, such as a triangle or an odd shape, you’d follow the numbers on your template.

Before you start to make a pop-up, the first step would be to create a template that you could score. The folds would be made on the scored lines and not on the solid lines. Your last step would be to glue your shape to the V fold so that your pop-up takes the shape you want before you glue it into your memoirs book as a centerfold pop-up or in some other spot. Before you begin, look at some instructional books on making pop-ups. They’re on the Web.

A pop-up photo of a couple dressed as bride and groom works well. The photo would be brought to a color copier and printed out on the type of paper that makes the best pop-ups. A history and virtual tour of pop-up books is at the University of North Texas Web site: http://www.library.unt.edu/rarebooks/exhibits/popup2/introduction.htm. Some pop-up books in the past contained revolving discs called ‘volvelles.’ You don’t have to use photos. You can use art work or memorabilia to pop up, if the type of paper is suitable.

Use “turn up” or “lift the flap” mechanisms as pop ups in your gift book. The same pop-up copied can also be put in greeting cards to promote your book. Separate leaves of paper cut to different sizes. Each leaf would contain different information. The leaves can be hinged together and attached to a page. This works great with memorabilia.

The reader would be able to unfold multiple depths of a picture, such as a photo cut-out wearing different costumes or clothing styles. Examples would be the bridal gown, dressed for travel, at the beach, or in ethnic traditional clothing.

Until the early 19^th century, movable books were created for adults, and not for children. One example would be learning anatomy at school from different leaves showing bones or muscles. For further information, see the following books:

Haining, Peter. Movable Books: An Illustrated History. London: New English Library, 1979.

Koskelin, Susan. "The Evolution of Movable Books from the Late Thirteenth Century to the Late Twentieth." Graduate school paper, U of North Texas, 1996.

Lindberg, Sten G. "Mobiles in Books: Volvelles, Inserts, Pyramids, Divinations, and Children's Games." Trans. Willian S. Mitchell. The Private Library 3rd series 2.2 (1979) : 49-82.

Montanaro, Ann R. Pop-up and Movable Books: A Bibliography. Metuchen, N.J.: Scarecrow Press, 1993.

What’s the Best Way to Learn How to Make Pop-Up Books and Greeting Cards?

Buy several pop-up books and make a list of how these books are placed together. Then take them apart. Use your camcorder to record yourself taking the book apart. It will be easier to put them back together when you have a visual recording of what the book looked like before and during each step of the way as the book is taken apart. Making simple pop-ups for books and greeting cards is easy to learn and helps develop the use of the right hemisphere of your brain through practice.

Make a template or buy templates to make pop-up books from craft, hobby, and book-binding supplies do-it-yourself stores. Several good book binding supplies stores are online. Search your Internet engine, for example Google at http://www.google.com with the key words “book binding supplies.”

A professor of bookbinding at the Escola d'Arts i Oficis in Barcelona wrote an excellent how-to book titled, The Complete Book of Bookbinding by Josep Cambras. The book provides precise, systematic techniques with plenty of excellent illustrations. Other books include the following:

·                Hand Bookbinding: A Manual of Instruction by Aldren A. Watson

·                The Craft of Bookbinding by Manly Banister

·                More Making Books by Hand: Exploring Miniature Books, Alternative  Structures, and Found Objects by Peter Thomas

·                The British Library Guide to Bookbinding: History and Techniques (British Library Guides) by P. J. M. Marks

·                Book Arts: Beautiful Bindings for Handmade Books by Mary Kaye Seckler

What’s complicated about crafting pop-up books is making gift books with moving parts. To learn how to do that, you need to talk to a paper engineer or paper folding specialist. Or take a course in making pop-up books with moving parts.

One excellent specialist in this field is paper engineer, Robert Sabuda. See his Web site at: http://www.robertsabuda.com/. Click on How to Make Pop-Ups at: http://www.robertsabuda.com/popupbib.html.

Pop-Up Tutorials Online and Books on Making Pop-Ups

Web-based step-by-step instruction, workshop information, and a bibliography on making pop-up books are at the pop-up books author, Joan Irving’s site at: http://www.dreamscape.com/pdverhey/. Also other excellent bibliographies on making pop-up books include the following: Johnson, Paul. Pop-up Paper Engineering. Cross-curricular Activities in Design Technology, English and Art. The Falmer Press, 1992.

              Beginners may enjoy the following books: Aotsu, Yoku. How to Make Pop-up Pictures! Dai-Nippon, 1993; Campbell, Jeanette R. Pop-up Animals and More! Evan-Moor, 1989; Valenta, Barbara. Pop-O-Mania. Dial Books. 1997.

Abstract Pop-Up Books

Play with Digital Pop-Up Cubes before You Fold Paper Pop-Ups

            For digital pop-ups, try a pop-up cube that will appear on your computer as you create stories that give the reader a choice to move in several directions. This interactive choice is called writing in branching narratives.

Picture a cube or a pop-up book that snaps into three dimensions by extending the lines along the corner. Three-dimensional writing is in circular time with branching narratives ending in leaf nodes like the curving tree of life. Think of your story as a stack of cards—a metaphor used by many authoring tools.

1.         Take a deck of blank cards and divide it into thirds—one for each part of your story. On each card, write a different beginning, middle, or ending for each part of the story.

2.         Shuffle the each pile of cards so the reader can choose multiple pathways to interact within the story. Instead of linear time, you now have a three-dimensional parallel structure that goes back and forth like a time-travel novel.

3.         Let the reader choose a different path, or return to the beginning to start a different story.

The most important rule to remember when designing an interactive story is that there are no rules. Start with a diagram and define the widest categories. Then, refine the story diagram, getting more specific as you go deeper into each story level.

Interactive writing uses metaphorical thinking to stimulate creative response. The interactive writer becomes a master of flexibility and a weaver of ideas, pictures, and sounds.

Practice Making Pop-Ups on Your Computer

Have a charming photo of a person in the book actually pop out in the middle of the book or at a spot where that person’s most important experience is mentioned. Before you design and cut out any folding pop-up art on paper, first make a verbal rather than a visual mock pop-up in your computer. A verbal pop-up is abstract. It’s all about writing one page in three dimensions. You have to think in three dimensions.

Your topic is “Writers wear many hats.” Write in of branching narratives. People who do this for a living are called non-linear editors.

            A single script may incorporate several frameworks, including streaming audio narration, animation with voice-over, and montage. Other often-used frameworks—including comedy and drama—can be applied to new media presentations, as well.

            The frameworks may vary from one category of facts or segment of the story to the next. In a documentary-style biography, you might include simple animation, backlit negatives, artwork, photos, or a narration to bridge the transitions.

The completed project should flow like one piece of cloth with no seams or hanging threads—like liquid, visual music. Using a varied selection of frameworks will help keep the attention of the audience and give the writer more options to set up a mighty conclusion. Be sure the frameworks don't overpower the information with too vivid an impact.

You want the readers to remember the life story highlights derived from listener.

Interactive gift books on computer discs (CDs or DVDs) can be true life stories (or fiction). They use a parallel story structure. This means readers can make several choices to change the events leading to different outcomes at different times. You can adapt an event to an interactive experience. This lets the audience enter feedback or gives a choice of how the story moves or ends.

Writing in Caricature

Writing in caricature is the essence of great dialogue writing. No one did it better than William Shakespeare, who was a master of writing dialogue in caricature. As your audience experiences the script during its performance, your writing will leap from two-dimensional text to the three-dimensional world of your audience's imagination.

As you write this way, fit your dialogue into imaginary dialogue bubbles above the heads of your characters. They begin to vibrate with charisma. The goal is to give each character the ability to influence, charm, inspire, motivate, and help the audience feel important.

Using Humor

The more important you make the audience feel, the better chance humor has of conveying a message of value. You may use carefully chosen humor with serious topics to hold the attention of the audience and to prevent the material from become too dry, abstract, or technical. Humor works well when it reveals pitfalls to be avoided. Your ability to make an audience laugh will increase the marketability of your work.

Using Drama

Drama is one of the best frameworks to use. To incorporate drama into a non-fiction memoirs gift book, include an experience with subplots framed like those in one of the fiction genres such as romantic comedy, adventure, mystery, or suspense.

Ask how the inner mechanisms work. Are facts readily available? 

Or does the book allow the leading character or narrator to share only one experience as an interlude of inserted drama? Show contrasts in a memoirs book between the frameworks of dramatization, re-enactments, and demonstration. Contrasts are what makes a personal gift book of memoirs ‘alive’ rather than ‘flat’ in tone, texture, and mood.

“If you can give your son or daughter only one gift, let it be enthusiasm.” __ Bruce Barton

How many ways can you make money in multimedia with video in a variety of projects

How many ways can you make money in multimedia with video in a variety of projects?

You also can create your own list of open-ended possibilities. 

Practice seeing patterns in everything, making connections between two unrelated subjects, looking at symbols, bringing objects or people together, and making the abstract concrete enough to follow and understand without too many complications, when necessary. 

Make your videos useful and research your specialized markets. Here's a list of 358 ways to use video in your career, job, or project. How many more uses of video in numerous applications can you research, design, and apply in addition to video conferences, sign-language video phones, video weddings, and family or corporate and educational reunions?

© by Anne Hart 

Useful, alternative video business possibilities list

1. Video therapist technician

2. Video Infomercial production

3. Video inventory checker

4. Video Demo tape production

5. Video international reunion service and satellite

videoconferencing/video courier

6. Video public relations service

7. Employee screening service video

8. Video software talent management

9. Video dating service

10. Muckraking and underground (censored news) videos

    (Cover the news that didn't make the news, exposing

corporate, institutional, or government corruption through your

investigative video reporting.)

11. Videotape game or video storyteller

12. Instructional videos and How To Have a Good Life Video: teach

sewing, costume design, painting, cooking, remodeling, makeup,

self-esteem enhancement, etc. (Produce any how-to instructional

or training video on whatever you know how to do really well.)

13. Video close captioning for the deaf. Or video hand sign

language interpretation for the deaf.

14. Video UFO research/interviews/abductees/sightings recorded.

15. Public histories on video production.

16. Videobiographies

17. Family identification service

18. Instructional and training videos

19. Surgery and operations on video tape

20. Childbirth on video tape

21. Deathbed, last images, and last will and testament on tape

22. Weddings, parties, anniversaries, bar mitzvahs,

confirmations, and life events on tape

23. Conventions and public speakers on tape

24. Trade shows, exhibits, and new technology events

25. Direct mail marketing and sales by video

26. Private Investigator search techniques on tape: how to check

up on anybody. 27. Software video instruction on tape (video

manuals).

28. Corporate histories and annual marketing or financial

reports. 29. Editing other people's videos

30. Financial planning on video

31. Basic skills instruction on video

32. Foreign languages on video or English as a second language

33. Video advertisements

34. Videos on ethics

35. Corporate training on video

36. Healthcare professionals training tapes

37. Personality assessment questionnaire videos

38. Preschool physical exercise and fitness on video

39. Nutrition videos

40. Senior citizens networking and courses on video

41. Courses for homebased students on video

42. Videos for particular disabilities

43. Workability videos for persons entering the workforce

44. Multimedia videos using computers and video cameras

45. Games on video, including animation

46. Hospital videos for patient viewing

47. Cultural diversity videos for businesses or schools.

48. Videos for animal viewing (primates in sanctuaries, labs,

zoos, and research centers)

49. Legal depositions on video 

50. Forensic, (forensic medical videos) and crime lab photography

videos for evidence technology (including accident scene

diagrams, chronology of events, photos, scale models, charts,

graphs, maps, accident scene diagrams, and technical illustration

videos).

51. Security and surveillance/mobile surveillance

52. Pet videos or pet training for pet owners

53. Accident reconstruction videos for insurance firms

54. Home healthcare videos and home response taping

55. Corporate animation videos

56. Artists exhibits, art portfolios, and art show videos

57. Resumes and Non-resume Job Portfolios on video tape

58. Real estate sales videos, commercial or residential

59. Appraisal videos, property or real estate

60. Cartography videos (maps) on video (cross-country or

international driving routes and sights videos).

61. Travel videos

62. Visual anthropology tapes, preservation on video of tribal

and ethnic cultures around the world, or esoteric languages and

customs on tape. 63. Cooking videos, video cookbooks.

64. Religious videos of customs and rituals preserved or church

sermons, religious services on tape for homebound viewers. View a

variety of religions at home.

65. Pen pal videos, for people who can't be there in person to

chat and exchange conversation or souvenirs.

66. Prisoner-to-family correspondence on video. Also videos for

the institutionalized person.

67. Virtual reality video simulation: How your home will look

after it's remodeled. Or create medical or architectural models

on video using virtual reality technology on video tape.  

68. Virtual reality simulation games on video for game machines.

69. Computer-assisted reporting videos.

70. Videos for foster parents, child daycare workers.

71. Video dating and marriage brokerage service

72. Video business partner matching

73. Family photos on video, genealogy videos, and family

histories: videobiographies and autobiographies on tape.

74. Poetry reading on videos.

75. Greeting cards and love letters on video.

76. Close captioning and hand signing for the deaf

77. Distance teaching tapes

78. Bellydancing videos

79. Psychic predictions videos: one each month or quarterly 80.

Futurist trend forecasting on video

81. Video magazine for teenagers.

88. Music videos: auditioning new composers and musicians

89. Video software talent agent

90. Mediums and channelers on video

91. University courses by video

92. Writing or art instruction videos

93. Matching services: students with scholarships or schools, on

video 94. Baby sitters and nanny services or household managers

screening videos. Choose your nanny from the monthly video of

applicants.

95. Toy store video products

96. Children's interests videos

97. Air checker (record television advertisements for ad agencies

and product manufacturers who advertise on T.V.)

98. Newspaper clipping service on video and T.V. news video

clipping. 99. Video market research and audience tracking

100. Book publicist video service (Interview writers on video for

their book publicists and create video book tours).

101. Talk show video library: (Record television talk show

interviews for clients appearing on the show and their public

relations agencies.) 102. Documentaries

103. Compilations of previously existing material

104. Personalities and Trailers for film and video producers 105.

Exercise

106. How-to

107. Children and animation videos

108. Music

109. Book-based videos

110. Romance novels on video

111. Video distribution by mail

112. Video agent

113. Video foster grandparents

114. Video packager, including corporate animation

115. Licensed toy character and celebrity videos

116. Sports videos

117. Video bartending

118. Foreign TV videos

119. Video budget planner

120. Financial, stocks videos

121. Children's videos

122. History on video

123. Video letters

124. Video questionnaires: Personality, psychological, and

aptitude questionnaire videos.

125. Scholastic testing on video of basic or advanced skills

and/or oral interview and oral exam testing.

126. Video classified advertisments/ad agency

127. Play production videos, including church and local

theatrical play taping and taping pays for playwrights, students,

and actors. 128. Publisher's video library

129. Video shopping coupon book

130. corporate animation and children's animation, appealing to

the newest toy store video trade...animated dolls and toys.

131. Script supervisor            

132.   Story editor/ reader for plays/scripts

133. Dramaturg (Literary Manager) with analysis on video

134.  Video/Literary  Agent

135.  Videotherapist or Video therapist technician

136. Electronic Editor

137. Desktop Video Programner

138. Desktop Video Producer

139. Video Magazine or Newsletter

   Publisher/Designer

140. UFO Investigator

141. Seminar Planner

142. Event  Planner

143. Videoconferencing Designer

144. Convention Recorder

145. Publicist

146. National Organization

     Startup  Planner

147. Documentation Analyst

148. Electronic Translater

149. Visual Anthropology

     Researcher

150. Video Indexer

151. Freelance video editor

152. Public Speaker

153. Electronic Farm Newsletter

     Broadcaster

154. Technical Video Editor/Writer Freelance

155. Video script proofreader

156. Children's video book

     consultant/buyer or media buyer 

157.  Collaborator

158. Educational video producer/Mobile Editor

159. Video and Audio Cassette Tape Agent or Software/Video Talent

     Manager  160. New Age Video Producer/self-enhancement

161. Artist's Event Videographer

162. Art Show Promotor/Art Video producer

163. Cruise-Line Videography Teacher

164. Instructional Video Producer/Technical Editor

165. Trainer

166. Instructional technologist

167. Executive health promotion video producer or speaker  168.

Forensic Photographer

169. Photojournalist

170. Distance Teacher

171. Crafts Video

     Scriptwriter/Producer (How-To)

172. Autobiography Videographer

173. Animator, corporate ad, or children's programming

174. Preschool exercise video producer/instructor/consultant

175. Videobiographer specializing in life story videos for older

adults or corporate histories.

176. Oral historian. Videotape holocaust survivors and survivors

of      various disasters and wars for specialty museum

libraries. 177. Video script supervisor

178. Video Greeting Card designer

179. Graphic Novel Writer (video comic books for grownups)  180.

Ethnic customs and costumes or world foods Video Consultant  181.

Video Food Stylist

182. Video Software designer for writers, artists, special

effects  183. Interactive Multimedia Producer, Designer, or

Writer for Video       and computer video games

184. Video romance novels on tape: producer/writer

185. Videos for deaf, close captioned or signing

186. Adult Education Teacher of video production or video writing

187. Agent's Reader/Screener/Video producer's representative

188. Video and Book Tour Promoter

189.  Travel video producer: specialty travel: for students, the

disabled, seniors, teens, etc.

190. International Video Scriptwriter's Agent and Video Agent or

Video Distributor International Producer's and Publisher's

Representative 191. Teen video magazine

192.  Information Broker/Competitive Intelligence Researcher to

the video industry

193.  Software or Video Locator

194.  Special effects designer or video titles creator

195.  Storefront Video and Video Writer's  School Director  196.

Correspondence School Instructor

197.  Hospital video therapist

198.  Video Playwright for Children's Theatre and Schools of

Performing Arts

199.  Comedy Writer or standup comic video producer, suppliers of

video comedy for institutionalized and hospitalized patients or

prisoners.  200. Comedy Trainer/ comedy and humor training

videos: train the trainer tapes. 201. Story Structure Analyst (to

screenwriters/novelists)  202. Writer's Office Designer

203. Kitchen Designer and Cookbook Writer

204. Video columnist:  Newspaper/Trade Journal/Specialty

Newsletters  205. Video colorist   

206. Personnel screener/interview in screening videos for

employers.  207. Infomercial Producer/Designer/Writer

208. Autobiographer

209. Electronic (video) Advertising Copywriter

210. Cable Television Media Buyer

211. Market Researcher/Audience Analyst/for consumers of video.

212. Telecommuting Planner (for Government and Corporations) (You

set up corporate and government employees to work at home with

video cameras and computers linked to  the government or

corporate central computer 213. Videotext  editor

214. Air-Checker (record commercials at home on your TV and/or

radio for ad agencies)

215. Visual Anthropological data analyst/visual anthropology

video library owner or maintain database clearinghouse on visual

anthropology videos, video grants, and participants.

216. Medical video producer physician's television or radio

network or health care scriptwriter

217. Personality  Assessment Coordinator/Sales

Representative and Video Producer

218. Psychological Type and Temperament Video Producer

219. Gambling How-To, game playing: how to beat the odds of

gambling, card-playing and other games of chance videos.

220.  Self-defense videos.

221. Modern or fad dances, skating, skateboarding, surfing videos

222. Stocks and bonds: investments

223. Psychic predictions for the year or month videos

224. Job search videos

225. Computer aided design video producer

226. Video accident reconstructionist/forensic videographer 227.

Time management video producer

228. Political campaign management video producer/publicist 229.

Customer support video producer/writer

230. Nurses' training video producer

231. Direct mail video copywriter

232  Exhibit and trade show event video creative director

233. Domestic violence prevention video producer/trainer

234. Video earth satellite technician

235. Video fashion show producer/including music videos.

236. Media Buyer/Audience Research

237. Market Research Video Analyst and Planner  

238. Telecommuting planner for government and Corporations (You

set up corporate  and government  employees  to work at home with

video cameras and personal computers linked to              

videoconferencing with the government, school  or corporate

central computers and video players/cameras.)  239. Videotext

editor.

240. Air-Checker  (record commercials or monitor news)

241. Visual/Video Anthropologist/producer

242. Medical Videographer

243. Physician's video/radio network producer/writer or

distributor 244. Personality assessment video

coordinator/personality training videos. 245. Trade show  display

event

planner/videographer/publicist/direct mail video copywriter  246.

Animation designer or writer/producer or packager and distributor

of animation   

247. Video and Electronic Greeting Card Designer or salesperson

248. Video apartments producer/Real  Estate  Advertising

Copywriter/videographer

249.  Video Software Reviewer/

250.  Restaurant/Entertainment video trailer producer or Reviewer

251. Camcorder  Buyer's Guide Writer

252.  Music video producer/Lyric Song Writer's Agent/Lyric song

writer/videos and portfolio videos for auditions of other song

writers composing on video or Midi synthesizer video musical

television producer. 253.  Wedding and family videobiographies

254. Amateur producer's video sales and rental store owner/video

sharing and public domain video sales and rentals. (Including

mail order amateur and public domain video sales or rentals.)

255. Video mail order catalog producer/Publisher

256. Wholesale video security dealer/for video management of

stores, malls, schools, offices, and homes.

257. Video producer's Retreat Owner/Renter

258. How to repair-video producer, director, packager,

distributor, or writer: fish out assignments  to other

     video producers/writers/repair technicians.

259. Medical or legal transcription dictated on video instead of

audio cassette. (See the dictationist while you transcribe the

tape or use videoconferencing or videophones.)

260. Computer-generated video special effects and title designer

for home videos.

261. Video tape editing service owner.

262. Cultural diversity videos producer

263. Direct mail video and infomercial producer/ Mail Marketing

Videos and script writing/copywriting

264. Novelty videos/humor/video gag writer/

265. Gift videos/self-enhancement wholesaler

266. Video Patent  Searchers 

267. Create videos that develop one's tolerance for ambiguity

268. Import/Export video and interactive multimedia book  buyer

269. Speciality video dating service/introduction or matching

service for business partners, social dating, or matching

compatible people for venture capital raising and business

establishment.)

270. Pet matchmaking videos for mating certain lines of dogs,

cats, horses, birds, foul, fish, game animals, rare zoo  animals,

endangered species animals, or a variety of species for land or

sea animal theme parks. Or match farm animals for breeding by

their DNA lines.

271. Video producer's and writer's independent or freelance Job

Information video clearinghouse

272. 900 Video information Telephone Line

273. Testing Service/interactive video response testing

274. Video Production Grants Writer/Government and Technical

Contract Bids or Educational video production.

275. Videos for matching students with Scholarships, fellowships,

grants and residencies: video locator service

276. Land or financial video locating

277. Video Scriptwriter

278. Interactive Multimedia Scriptwriter or producer

279. Carpet sculpture videos--insert woven logo design into

carpet  for corporate client and design motto and logo.)

280. Virtual reality entertainment, amusement park, or game video

producer, digital theme parks in storefront shopping malls.

281. Video fund raiser

282. Trade show demonstration exhibit designer/producer

283. Video career/employment counselor/consultant

284. Video production business plan writer for new video

businesses applying for financing

285. Video grants proposal writer

286. Toy video producer

287. Gag video producer/writer

288. Idea Generator/Motivator/Inspirational Speaker/Writer video

producer  289. Military video producer.

290. Religious producer: sermons on video for homebased religious

services or events

291. Ethnic Cookbook videos

292. Playology videos

293. Animal care videos.

294. Travel videographer

295. Women's studies video producer

296. Video advertising researcher

297. Media buyer

298. Cooking videos

299. Booklet, workbook, and pamphlet publisher to accompany

videos. 300. Teen magazine or music video producer

301. Gift videos for special holidays and occasions.

302. Video comparison shopping research

303. Niche video distributor

304. Film festival videos/ video monitor reporter/representataive

305. Catering service to video and filmmakers

306. Professional video finder

307. Selling videos and video-related information from around the

world in many languages.

308. Motivational/New Age video and pamphlet production

309. Freelance video advertising copywriter

310. Restaurant review videos

311. Book and software review videos

312. Paid volunteer video trainer

313. Nursing continuing education videos.

314. Mobile nursery school exercise program video designer  315.

Poet resident in the city schools with videos.

316. Art as virtual reality on video

317. Video direct mail marketing copywriter

318. Promotional video producer

319. Hypnosis videos, or past life regressions and future life

progressions tapes

320. Adult survivor of child abuse therapy videos.

321. Industrial training videos.

322. Corporate training on personality differences in the

workplace video productions.

323. American Sign Language Videos for the deaf or to train the

hearing to work with deaf employees.

324. Video press and media kit designer

325. Videos to engage latchkey kids in learning as fun activities

326. Science for children or adults

327. UFO sightings videos or interviews with contactees/abductees

stories on video

328. True confessions on video

329. Video shopping direct mail marketing

330. Video sights and sounds to quiet crying infants

331. Children's bedtime calming stories and music on video 332.

Videos for store and exhibit hall product demonstrations 333.

Hard to find courses on video.

334. Interior decorating on video, or home remodeling techniques

335. Art instruction videos

336. Wholesaling by video or videoconference

337. Seminar promotion videos

338. Distance teaching

339. Homebirth instruction, preparation and supplies, including

LaMaze or similar type birthing instruction and exercises

340. Infant care for new parents or babysitters

341. Nanny training videos

342. First aid and/or home remedies videos

344. Women's opportunity week videos for networking

345. Penpals on video

346. I.Q. Testing

347. Puzzles, riddles, and word games on video.

348. Math quizzes on video

349. Critical thinking videos.

350. Quizzes and aptitude tests on video.

351. Personality testing

352. Metaphysical videos

342. Media Interface Liaison

343. Procedure writer for video producers

344. Instructional technology producer/writer

345. Post Production video editor

346. Virtual reality producer

347. Interactive multimedia videographer

348. Technical video producer/writer

349. Videotape production coordinator

350. Video Informationist

351. Software video interface producer/writer

352. Computer software instruction video producer

353. Micrographics designer

354. Video market trend  forecaster

355. Mentoring videos for trainees:Retirees mentoring recent

graduates

356. Videopals: penpals via video: children and older people

357. Beautiful images videos: scenes to lower your blood pressure

358. How women express anger and its effect on their health.

Professional creativity-enhancing writing strategies, techniques, and writing samples for clarity, closure, and commitment. Writing to help others, for health, resilience and confidence.

This content covers active versus flat writing, creating moods, textures, tones, body languages, gestures, behaviors, imagery, and tag lines, for numerous areas of professional creative writing, including fiction, non-fiction, technical writing iterations and applications, personal history, creative genealogy writing, reporting, and script writing for education/training or entertainment.

Writing Outside the Box also discusses genres such as historical, romance, time-travel, mystery, suspense, mainstream, and writing children's books, using your original poems, song lyrics, or expanding popular proverbs into stories or books, gift books, and publishing your own books and booklets, including writing, formatting, and publishing shorter romance novels and stories.

You'll learn about how to write corporate case histories, interview people to write personal and family history life story highlights and experiences, create time capsules, adapt scripts or plays into novels, write short stories, and learn more about uses of poetry as therapy in careers. You'll also learn possibilities for the writer in residence in business or education, and writing scripts for various events from ancient-themed weddings and celebrations to writing for wide panorama of applications from news releases and business to fiction with conviction.

This book also contains links to the author's video on how to be a personal historian and also the author's audio talk on what to expect from careers and strategies for technical writing, and other links to various resources for writers, editors, publishers, and interviewers.

Whether you write fiction, nonfiction, genre and mainstream or historical novels, stories, scripts, plays, or personal history and genealogy, you'll learn how to write stories or novels or adapt plays and scripts to novels and vice versa, using the push-and-pull odd and even chapters of a 24- chapter novel.

The technique shows how to use 12 pull chapters and 12 pull chapters, which also can be done with 8 pull and 8 push chapters of a 16-chapter romance or suspense novel. With even chapters in any genre or mainstream novel, half of the chapters create tension and half of the chapters bring people together. This works well in a wide variety of novels, not only romance, but also historical or thrillers.

Learn how to write corporate success stories and news releases or how to adapt and expand or reduce your fiction writing to fit your market, whether it's family history and time capsules, market-sized niche books, stories, romance and your romance genres, historical time-travel, writing audio or stage plays, or scripting those ancient-themed events.

This book focuses on enhancing your creativity, persistence in writing, and thinking outside the box in the niche-markets. You'll learn how to write for the changing content creation industries, digital or print content arenas, conventional and unconventional markets for writing, publishing by and helping others learn to write with clarity and brevity what markets will buy, and how to research what readers/viewers want.

The book also opens your ideas to learn more about what's happening in the fields of creative writing as therapy for de-stressing, and for finding inner peace within the various expressive arts therapies. Do you write poetry, personal history, memoirs, multimedia, radio or stage plays, or movie scripts? Write to sell? Write to teach/train, or report research news? Writing for your own closure, commitment, or simplicity?

Writing for people who think outside the box can help expand and adapt your roads to numerous niche and conventional publishing worlds where both multimedia and print stages open new platforms of expertise with which to connect.

Product Details

Professional creativity-enhancing writing strategies, techniques, and writing samples for clarity, closure, and commitment. Writing to help others, for health, resilience and confidence.

This content covers active versus flat writing, creating moods, textures, tones, body languages, gestures, behaviors, imagery, and tag lines, for numerous areas of professional creative writing, including fiction, non-fiction, technical writing iterations and applications, personal history, creative genealogy writing, reporting, and script writing for education/training or entertainment.

Writing Outside the Box also discusses genres such as historical, romance, time-travel, mystery, suspense, mainstream, and writing children's books, using your original poems, song lyrics, or expanding popular proverbs into stories or books, gift books, and publishing your own books and booklets, including writing, formatting, and publishing shorter romance novels and stories.

You'll learn about how to write corporate case histories, interview people to write personal and family history life story highlights and experiences, create time capsules, adapt scripts or plays into novels, write short stories, and learn more about uses of poetry as therapy in careers. You'll also learn possibilities for the writer in residence in business or education, and writing scripts for various events from ancient-themed weddings and celebrations to writing for wide panorama of applications from news releases and business to fiction with conviction.

This book also contains links to the author's video on how to be a personal historian and also the author's audio talk on what to expect from careers and strategies for technical writing, and other links to various resources for writers, editors, publishers, and interviewers.

Whether you write fiction, nonfiction, genre and mainstream or historical novels, stories, scripts, plays, or personal history and genealogy, you'll learn how to write stories or novels or adapt plays and scripts to novels and vice versa, using the push-and-pull odd and even chapters of a 24- chapter novel.

The technique shows how to use 12 pull chapters and 12 pull chapters, which also can be done with 8 pull and 8 push chapters of a 16-chapter romance or suspense novel. With even chapters in any genre or mainstream novel, half of the chapters create tension and half of the chapters bring people together. This works well in a wide variety of novels, not only romance, but also historical or thrillers.

Learn how to write corporate success stories and news releases or how to adapt and expand or reduce your fiction writing to fit your market, whether it's family history and time capsules, market-sized niche books, stories, romance and your romance genres, historical time-travel, writing audio or stage plays, or scripting those ancient-themed events.

This book focuses on enhancing your creativity, persistence in writing, and thinking outside the box in the niche-markets. You'll learn how to write for the changing content creation industries, digital or print content arenas, conventional and unconventional markets for writing, publishing by and helping others learn to write with clarity and brevity what markets will buy, and how to research what readers/viewers want.

The book also opens your ideas to learn more about what's happening in the fields of creative writing as therapy for de-stressing, and for finding inner peace within the various expressive arts therapies. Do you write poetry, personal history, memoirs, multimedia, radio or stage plays, or movie scripts? Write to sell? Write to teach/train, or report research news? Writing for your own closure, commitment, or simplicity?

Writing for people who think outside the box can help expand and adapt your roads to numerous niche and conventional publishing worlds where both multimedia and print stages open new platforms of expertise with which to connect.

Product Details