John Reese’s Top Traffic Secrets

Track all sources of traffic generation.

John Reese stresses the need to track where all traffic comes from and at what cost. It is crucial to know exactly how many sales, newsletter sign-ups, or other leads your particular marketing campaigns generating. This enables you to work smarter and not harder. By tracking all traffic to your site you can make twice as much while working fifty percent less.

Content is King

On the internet, people are searching for one thing……. Content! Load your website with as much content as possible. Then, continuously add content. Search engines love information and they will love your site if you’ve got lots of it. There’s plenty of free content for the taking on the internet. You can load up your site with articles from article directories like ezinearticles.com. Or, you could be like John and use content from the public domain. Or, you can use content that is in the creative commons. This type is now easier than ever to find now that Yahoo and others have come out with a search engine designed specifically for content that is in the creative commons.

An affiliate program is critical to maximum traffic and sales. Lots of internet marketers don’t take advantage of this powerful traffic-generating technique. An affiliate program allows you to have your own personal salesman spread all over the web. The best part about it is that there is absolutely no risk involved but tons of traffic and sales to gain. Your website simply cannot grow to its full potential without an effective affiliate program.

Banner Ads

John Reese advocates the use of banner ads during a time when they are largely an untapped marketing source. Banner ads are one of the most overlooked sources of targeted traffic online.

Also, banner ads are now one of the cheapest sources of targeted traffic. In the late 1990’s during the dot-com boom, people were selling banner ads for $40 and $50 CPM. Then the dot-com bubble hit and these rates hit the floor. You can now buy banner ads dirt cheap, at $1 to $1.50 CPM. This is $1 for 1,000 banner impressions. The key here is to find the perfect place to advertise that will send targeted, willing to buy customers to your site.

Create viral reports that can quickly spread around the internet. This method works best when you have an affiliate program. Allow others to brand your report in order to encourage its distribution.

A quality free report can be a powerful promoter when passed around the internet. This same phenomenon can occur when you submit your articles to article directories and popular newsletters.

Take advantage of your virtual real estate.

Take advantage of the different parts of your website. Don’t let any of your web pages go to waste. You can do this by adding a link to another one of your web sites or pages on your thank-you or sales confirmation pages. If you have articles on your site, place links to related articles on the bottom of the page. The longer you keep a visitor at your web site, the more valuable they become.

It is very important to funnel traffic from within the multiple sites you may have.

Continually seek out other web sites to link to you. Now, we’re not just talking about any kind of link here, but powerful, traffic-generating links from respected sites. Here are some quick suggestions:

Send a related web site an article that you have written and allow them to display it on their website with a resource box at the end. Offer to exchange articles and tell them about the benefits of doing so.

Allow multiple, related web sites to distribute your free e-book or report. All web masters are looking to add value to their web site, why not make it easy for them.

There are unlimited possibilities, be creative!

Online group participation can produce a no-cost stream of traffic and sales.

Get involved in email discussion lists, online groups and forums that are related to your target market. Becoming involved in discussions makes you very credible. Traffic from forums can produce a much higher sales conversion rate.

This method can produce quite a bit of sales for you just by helping others out. Not to mention, you’ll learn a lot along the way.

January 18, 2009

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Jeux de Casino: Comment Perdre de Argent Rapidement

Examinons donc les diff

January 16, 2009

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It Was Good Enough For Shakespeare!

One of the core conflicts for creative artists of all kinds is the tug-of-war between art and commerce. Frankly, an artist needs to make money, and it is preferable to make it from his craft.

A writer who must work a full-time job to support himself will struggle to find the time to work, and often eventually gives it up altogether. On the other hand, being able to write on any project at all can polish valuable skills, and teach one the rules of the publishing industry.

On the other hand, I’ve met writers who were clearly working on projects, or toiling away at a career, that was burning out their souls. I remember meeting one such writer. His business card read “freelance hack and literary mechanic.” Sadly, but not entirely unexpectedly, he was dead of alcoholism within a year.

How to avoid such burnout? Well, in my own career, in addition writing the books I cared about the most, I’ve written Batman comic books, a Star Trek novel, and a Star Wars tie-in. In my television career, in addition to writing for “Outer Limits” and “The Twilight Zone,” I also wrote four episodes of “Baywatch”(!)

And never for a moment did I feel that I was selling myself out. Let’s get something straight: Shakespeare wrote for money. One can keep a careful eye on the bank account, and still reach the heights of craft. But again, how?

In my own case, the answer is fairly simple. Envision the thought process like this: I draw two circles. In the first, is everything I would like to write (and there are always dozens of projects in the mental hopper!). In the second is everything someone else is willing to pay me for. Where the two circles overlap, I write. In other words, are there projects I’d love to write, but can’t get paid for? You bet, and I generally don’t write them unless they are quite short. And there are projects that producers or publishers might want me to do, but don’t touch my heart at all. Having learned through experience that there are limits to my creative flexibility, I turn those down.

But from time to time, an opportunity arises that is in the no-man’s-land between the circles. There is money, but the project isn’t exactly something you have ever considered writing. What then?

Then, you ask yourself if the project is something that you could be proud of. If you would read it, or respect someone who did. For instance, when my agent called and said that the producers of “Baywatch” wanted to talk to me, I had the office send over six hours of video on the show. I sat on the living room couch and watched them with my daughter, who was about six at the time. After a few episodes, I asked her what she thought. She liked it. I asked why. She said: “Because it’s about nice people working hard to make the beach safe for us.” I thought about it, and then replied, “you know? There are worse things than that in this world, by a long shot.” And decided to try writing for it.

Every show, every project has its limitations. You must use certain characters, must get them into certain kinds of situations, and must avoid certain topics. That can be restrictive, but you can also decide to take it as a challenge. After all, you could give Fred Astaire a stage of any kind, and props of any kind, and he would find a way to create dance. Should you be committed to a lesser level of skill and vision? No.

You must find ways to amuse yourself while writing, to stretch your skills by trying something you’ve never done before, by empathizing with a younger audience if necessary&ndashnever ever writing “down” to your audience. That is the death of art. But if you can be truly flexible, you’ll find that more doors are open to you, more opportunities arise, that brass ring comes around more often. A writer ready to leap at any opportunity to show his skill, and who finds it easy to fall in love with about a project will often out-perform a brittle “genius” who must have everything exactly his way in order to write.

And if that approach is good enough for the Bard, it’s good enough for me.

January 14, 2009

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It

There’s a rumor out there in the publishing world that an editor won’t even look at the work of a new writer. It might be true for certain types of writing, but after interviewing hundreds of editors, I’ve found that most are more open to new writers than you might think.

And there are a few major benefits to being a new writer too. So before you spend too much time trying to work out how you can appear to be a published professional writer when you’re not, consider taking advantage of your current position as a newcomer.

What are the advantages? Here are four positive points of being a new writer that will help you get work – and they all come direct from editors.

1. It’s Easier to Impress

Editor says…

“I really don’t mind new writers at all. If you’re new and act professionally, I’m usually willing to give you a go. I’d suggest that new writers just be honest about who they are.

If I get a fairly good article by a new writer, I’ll be impressed. To me, that’s my chance to discover new talent. That’s when I’ll contact the writer and try to help them. If I get a fairly good article by a new writer pretending to be an experienced writer, I will probably just issue a standard rejection.” -Evelyn, Magazine Editor

If you claim to be a professional and experienced writer, an editor is likely to expect a lot. That means it will take a lot to really impress them. Even a good article might not be enough to get their attention. But if you tell the truth and admit that you’re a new writer, it takes a lot less to impress. A new writer with a professional approach is something special &ndash just sending a professional quality submission might even be enough to impress.

2. There’s Room to Grow

Editor says…

“When I get a good article from a new writer, I’m always very happy. Why? Because new writers with the right skills and attitude are wonderful for our magazine. They can be shaped to suit our style, they listen to instructions, they usually have a positive attitude. That’s the kind of writer I like to take on and mentor.” &ndashStephanie, Magazine Editor

If an editor knows that you’re a new writer, you’re giving them the chance to spot new talent. If you’re new and right for their publication, you might be taken in and mentored until you suit their style.

The same isn’t likely to happen if the editor thinks that you’re experienced. Instead of looking at your work and thinking that it shows potential, they’ll be assuming it’s the best that you can do.

3. Anything Else, And You Risk Losing Their Interest

Editor says…

“I would tell writers to be careful if they’re going to exaggerate. I know everyone does it on resumes. But if someone claims to have been a writer for twenty years and is pitching my low-paying mag, I’m going to wonder two things. First, I’m going to wonder if they’re lying. Second, I’m going to wonder why they’re not working for a higher paying magazine if they really have that much experience. If they’re not lying, then I have to assume that they’re just a bad writer. Either way, it doesn’t look good for them.” – Danielle, Magazine Editor

If you’re a new writer, you need to be targeting the right kinds of markets. And if you are targeting small markets, claiming years of experience is only going to make editors suspicious.

4. Attitude Matters

Editor says…

“It’s simple. Many seasoned writers pitching me have a bit of an attitude, a hint of suspicion, and often a streak of boredom. Fresh writers pitching me tend to have nothing but positive energy and enthusiasm. I’ll take the enthusiastic writer, please.” &ndashSam, Editor

If you can’t go in with experience, go in with enthusiasm. That might be the big advantage that gets you the job.

January 13, 2009

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Idees Pour Mariage et Lune de Miel Inoubliable

Alors le divorce, entre l’avocat, les frais de proc

January 11, 2009

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How To Write Poetry

If you want to know how to write poetry, the first thing you have to do is write some. It doesn’t matter how it turns out. Your own mistakes will become your teachers. Your own writing will motivate you to greater creativity. Now, once you start the process, how do you improve it? Here are three tips.

1. Use nouns and verbs more than adjectives. Which is stronger: “She was as beautiful as a flower…” or “Roses wilted in shame as she passed by…”? “He looked at the depressing clouds…” or “He watched as dark clouds moved in, covering his sky…”?

2. Don’t tell the reader how to feel. Let the words elicit the emotions directly, without explaining. “The tragedy touched them all,” is more touching to the reader as “Men and women, doctor and workman… thirteen people looked upon the scene… with tears in their eyes.”

3. Use dramatic and emotional words. Not all words are equal in their ability to “grab” a reader or elicit emotion. “Fell,” “take,” and “love,” will probably be weaker than “plunged,” “siezed,” and “worship.”

Look at the following lines, written two ways. The second way applies the three rules above. (From the poem “Gratitude.”)

1.

The mountains and lakes were beautiful

I looked at them, heard them and smelled them

And I felt in awe

2.

Mountains stand against the sky

My little lake at their feet

And in the middle of this creation

Which I see with my eyes

Hear with my ears

Smell and taste…

Words fail, as they should

I hope you agree that the second version is better. Again, if you want to know how to write poetry, you have to start writing. Use these and other rules to help you, but remember that all rules in poetry need to be broken at times. Read your poems aloud to yourself and others as a final “test.”

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