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Storywriting savvy4/30/2023 Still unsure if you should be focusing on media relations? Read this piece for more reasons why it should be a core part of your organisation’s activities. This attractive cost-to-reach ratio translates into a happy bottom line. ![]() But if you begin planting seeds, you will reap the benefits for years to come.Īs an added bonus, media relations is a very cost-effective type of marketing. Like gardening, media relations is a long game. After all, everything is strengthened with an extra pair of hands. With the media on your side, you can tend to your reputation like a garden. Your savvy audience can be both your best advocates and biggest detractors, depending on how you communicate with them. Reputation is your one constant the thing you can rely on to meet these challenges. Strong media relations are vital to keep your organisation afloat.Īs Warren Buffet famously contended “it takes 20 years to build a reputation and five minutes to ruin it.” In the internet age we face challenges like fake news, a struggling publishing industry, and constantly changing mediums of communication. This distrust is increasing with each generation, whose bright minds choose no longer to pursue careers at companies with a bad reputation. Just look at the many examples ( Tesla, Ratner, United Airlines, Victoria’s Secret) of media mismanagement causing stocks to plummet overnight. Even booming industries feel the financial sting when falling out of favour with the public. In fact, having a large vocabulary, among many other skills, allows writers a greater degree of detail, of accuracy. In this way their stories are shaped by their minds’ potential and not by their minds’ limits.Īfter all, as Stephen King says, We’ve all heard someone say, ‘Man, it was so great (or so horrible/strange/funny) … I just can’t describe it!’ If you want to be a successful writer, you must be able to describe it, and in a such a way to make your readers nod with recognition.The need for a good reputation should never be underestimated. And given that a writers’ skillfulness isn’t only related to the size of their vocabulary, one might decide this isn’t an essential aspect of effective creative writing.īut it is. It’s that in order to make that happen we have to create the right context. In short, it’s not that we cannot make an elderly and dignified woman utter a word like kiddo. In fact, a writing that never pushes at the seams of language runs constantly the risk of coming across as flat and uninspiring as an infomercial. However, this doesn’t mean we cannot use them in new ways. Rather, this means we should ban any stereotypical approach to our writing and approach it with a healthy dose of pragmatism.įor example, words like kids, offspring, and children share the same meaning, but have each a different connotation. This doesn’t mean that elaborate words should be avoided at all cost, or that short and simple words should always be used profusely. We should amass a quantity as large as possible of them in our heads, but then we should choose with great care the ones we really want to put down on paper. Words should be treated with the same care. After all, while stone can be great for a castle, if w’re planning to build a stilt house we’d probably better explore other options. But irrespective of how many materials we use, we should be able to choose from a vast array of them. I mean, if we want to, we can choose to use only one material. Writing can also be likened to the building of a house. It can lead them to think about why the writer has chosen certain words and not others - and this even without having to recur to any external time sequence. For example: A new day, The dying of the light, Contrasts, and so on.Īs a matter of fact, each title gives readers a different frame of reference and so, to a certain extent, can steer their reactions. Or we can present it with different titles. We can present it, without any comment or explication. ![]() In a certain way, it’s like looking at the picture below on the left. This might seem a subtle distinction, yet it is essential to storytelling. The time sequence is preserved, but the sense of causality overshadows it. The king died, and then the queen died of grief is a plot. The king died and then the queen died is a story. Forster, while a story is a narrative of events exclusively arranged in their time-sequence, a plot is also a narrative of events, but one in which the emphasis is falling on causality instead. ![]() However, this doesn’t mean we cannot draw any interesting conclusions about creative writing. In fact, as soon as someone comes up with a definition, whatever that may be, we can be sure that a writer is bound to come along and write a story that proves that theory wrong. When it comes to creative writing any theory is, to say the least, tricky.
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