Sign up for Newsletter - Blog Talk Radio ShowsShows

Monday, May 5, 2014

Join us tomorrow night Tuesday May 6 at 9P EST 8PM CST A Good Story Is A Good Story




 


Join Marsha and her co host Elizabeth Black on Tuesday May 6 at 9PM EST 8PM CST as they welcome authors from Phoenix Fire Publishing.

 Special Segment on Marketing with Kelly Abell from SELECT-O GRAFIX

It's going to be a great show so listen live and if you have questions or want to talk to one of the authors please feel free to call in (714) 242-5259




Link to the show -  
http://www.blogtalkradio.com/worldofinknetwork/2014/05/07/a-good-story-is-a-good-story-host-marsha-casper-cook

Monday, April 28, 2014

Why iPad sales are declining and what it means in the long term.

Why iPad sales are declining and what it means in the long term

fdd72c13-3c1e-432c-8dba-65971815a447-460
Apple’s quarterly earnings report, released yesterday, highlighted a trend that was slightly unexpected. Although profits grew to $10.2bn from $9.9bn the year before, the engine for this growth were, surprisingly, the newer iPhone 5S and 5C models which posted year-on-year growth of 17%. iPad growth, by contrast, screeched to a halt with year-on-year sales down 16%.
How has this occurred, and what does it mean in the long term? The perfunctory reasoning of Tim Cook, Apple’s CEO and Luca Maestri, their CFO was that Apple’s channel inventory (the amount of products they make available for purchase by resellers) had declined over the period but this ignores the fact that even with these adjustments factored in (about a million units) it still constitutes an overall decline in year-on-year growth and that Apple’s forecasts themselves predicted year-on-year growth for their iPad range.
The real reason for these declining sales may be simpler: Competition and saturation. Although Android tablets competing with Apple in the tablet space have existed for a while now, Apple had a first mover advantage that essentially fused its brand with the word “tablet”. Indeed, they essentially invested the consumer-ready tablet and it gave Apple a kind of marketing narrative of being “the tablet company” that worked on its own, even alongside premium pricing. The increasing availability of not just Samsung Android tablets, but Android (and increasingly Windows) tablets from a wide variety of manufacturers is cutting into a consumer base that would have instinctively gone to Apple a few years ago for a tablet.
Moving on to the more important matter of consumer saturation. Most analysts predict the tablet market will grow by 50% this year in the United States (its main market by a long margin). This seems overly generous. The level of market saturation in the US for tablets (42% of adults) is at a level now where we can expect to see some tapering off of growth. Indeed, to be more bold about it, it’s looking increasingly likely that the whole of the “post-PC” market of smartphones, tablets and phablets are looking at long term “stagnation”, that is to say, slow growth and diminishing returns from a mature consumer market. This is already well documented in the smartphone space where existing consumers simply see no reason to upgrade anymore.
This is partly why yesterday’s announcement was surprising in that very few people in tech journalism or market analysis saw it as part of a broader trend, they expected tablets to be immune from stagnating smartphone growth when in fact the two types of product are only different by incremental differences in screen size now. IDC’s first Q1 2014 report, released in January, predicted this exact outcome by stating that the ”signs for slower growth are clear” and warning against extravagant expectations.
This shouldn’t be viewed as a “crash” however, the fact of the matter is that app store revenues across the App Store and Google Play are going to grow and increasingly establish themselves as huge e-commerce centres in spite of this. Which leads on to the final point:
The only way hardware growth of mobile devices in developed markets is going to see the sort of huge figures it did in 2010-2012 is with innovation. For the past few years we’ve seen incremental improvements to existing principles which is, of course, understandable and perfectly fine. But incremental improvements in the form of better SoCs, more RAM and so on cannot drive growth to the extent a truly disruptive device can. A question device manufacturers need to be asking themselves is “What can I do on an iPad 4 that is truly different to what I could do on an iPad 3?” Therein lies the increasingly common pattern of consumers holding onto devices for longer periods of time now. There is, as already mentioned, no real reason why consumers should upgrade.
What’s most interesting about this is that the floor is open to any challengers who think they can change the market with something truly disruptive, and realistically this could come from anywhere.

Friday, April 25, 2014

Pen Names

Pen name

From Wikipedia, the free encyclopedia
A pen name, nom de plume, or literary double, is a pseudonym adopted by an author. The author's real name may be known to only the publisher, or may come to be common knowledge.

Western literature

An author may use a pen name if his or her real name is likely to be confused with that of another author or notable individual. Some authors who regularly write in more than one genre use different pen names for each. Romance writer Nora Roberts writes erotic thrillers under the pen name J.D. Robb, and Samuel Langhorne Clemens used the aliases "Mark Twain" and "Sieur Louis de Conte" for different works. Similarly, an author who writes both fiction and non-fiction (such as the mathematician and fantasy writer Charles Dodgson, who wrote as Lewis Carroll) may use a pseudonym for fiction writing. Science fiction author Harry Turtledove has used the name H.N. Turtletaub for a number of historical novels he has written because he and his publisher felt that the presumed lower sales of those novels might hurt book store orders for the novels he writes under his own name.
Occasionally a pen name is employed to avoid overexposure. Prolific authors for pulp magazines often had two and sometimes three short stories appearing in one issue of a magazine; the editor would create several fictitious author names to hide this from readers. Robert A. Heinlein wrote stories under pseudonyms so that more of his works could be published in a single magazine. Stephen King published four novels under the name Richard Bachman because publishers didn't feel the public would buy more than one novel per year from a single author.[1] Eventually, after critics found a large number of style similarities, publishers revealed Bachman's true identity.
Sometimes a pen name is used because an author believes that his name does not suit the genre he is writing in. Western novelist Pearl Gray dropped his first name and changed the spelling of his last name to become Zane Grey, because he believed that his real name did not suit the Western genre. Romance novelist Angela Knight writes under that name instead of her actual name (Julie Woodcock) because of the double entendre of her surname in the context of that genre.
Edward Gorey had dozens of pseudonyms, each one an anagram of his real name.
A pen name may be shared by different writers in order to suggest continuity of authorship. Thus the Bessie Bunter series of English boarding-school stories, initially written by the prolific Charles Hamilton under the name Hilda Richards, was taken on by other authors who continued to use the same pen-name.
C. S. Lewis used two different pseudonyms for different reasons. He published a collection of poems (Spirits in Bondage) and a narrative poem (Dymer) under the pen name "Clive Hamilton", to avoid harming his reputation as a don at Oxford University. His book entitled A Grief Observed, which describes his experience of bereavement, was originally released under the pseudonym "N. W. Clerk"
Essayist and poet Eric Blair adopted the pseudonym George Orwell for most of his books, including Animal Farm and Nineteen Eighty Four. This was done because he felt himself to be insufficiently established in his writing career to publish under his real name.
In some forms of fiction, the pen name adopted is the name of the lead character, to suggest to the reader that the book is a (fictional) autobiography. Daniel Handler used the pseudonym Lemony Snicket to present his A Series of Unfortunate Events books as memoirs by an acquaintance of the main characters.
Legendary comic book writer Stan Lee was born Stanley Martin Lieber. He adopted the pen name Stan Lee because he intended to save his real name for more literary products other than comic books. However, Lee's hopes for a novelistic career never materialized; although he became arguably the most important comic book creator in history. He legally changed his name to Stan Lee because he had become better known under his pen name.
Some, however, do this to fit a certain theme. One famous example, Pseudonymous Bosch, used his pen name just to expand the theme of secrecy in The Secret Series.

Female authors

Some female authors have used pen names to ensure that their works were accepted by publishers and/or the public. Such is the case of Peru's famous Clarinda, whose work was published in the early 17th century. More often, women have adopted masculine pen names. This was common in the 19th century, when women were beginning to make inroads into literature but, it was felt, would not be taken as seriously by readers as male authors. For example, Mary Ann Evans wrote under the pen name George Eliot; and Amandine Aurore Lucile Dupin, Baronne Dudevant, used the pseudonym George Sand. Charlotte, Emily and Anne Brontë published under the names Currer, Ellis, and Acton Bell respectively. French-Savoyard writer and poet Amélie Gex chose to publish as Dian de Jeânna ("John, son of Jane") during the first half of her career. Karen Blixen's very successful Out of Africa (1937) was originally published under the pen name Isak Dinesen. Victoria Benedictsson, one of the most famous Swedish authors of the 19th century,[citation needed] wrote under the name Ernst Ahlgren.
More recently, women who write in genres normally written by men sometimes choose to use initials, such as K. A. Applegate, P. N. Elrod, D. C. Fontana, S. E. Hinton, G. A. Riplinger, J. D. Robb, and J. K. Rowling. Alternatively, they may use a unisex pen name, such as Robin Hobb (the second pen name of novelist Margaret Astrid Lindholm Ogden).

Collective names

A collective name, also known as a house name, is sometimes used with series fiction published under one pen name even though more than one author may have contributed to the series. In some cases the first books in the series were written by one writer, but subsequent books were written by ghost writers. For instance, many of the later books in The Saint adventure series were not written by Leslie Charteris, the series' originator. Similarly, Nancy Drew mystery books are published as though they were written by Carolyn Keene, The Hardy Boys books are published as the work of Franklin W. Dixon, and The Bobbsey Twins series are credited to Laura Lee Hope, although several authors have been involved in each series.
Collaborative authors may have also their works published under a single pen name. Frederic Dannay and Manfred B. Lee published their mystery novels and stories under the pen name Ellery Queen (as well as publishing the work of ghost-writers under the same name). Cherith Baldry, Kate Cary, and Victoria Holmes wrote the Warriors series under the pseudonym of Erin Hunter to keep their readers from searching all over the library for their books.[citation needed] The writers of Atlanta Nights, a deliberately bad book intended to embarrass the publishing firm PublishAmerica,[citation needed] used the pen name Travis Tea. Sometimes multiple authors will write related books under the same pseudonym; examples include T. H. Lain in fiction.[citation needed]
Nicolas Bourbaki is the collective pseudonym under which a group of (mainly French) 20th-century mathematicians wrote a series of books presenting an exposition of modern advanced mathematics, beginning in 1935. With the goal of founding all of mathematics on set theory, the group strove for utmost rigour and generality, creating some new terminology and concepts along the way.[citation needed]
In 2007, three Slovenian artists legally changed their names to Janez Janša, the Slovenia’s economic-liberal, conservative prime minister at the time. When publicly asked whether this gesture was of an affirmative or subversive nature, they claimed they did it for "personal reasons". Most of their works, including art exhibitions, theatrical pieces, and publications, have since been signed under this name.[citation needed]
Suba is an example of collective pen name in Tamil literature.[citation needed] Kozma Prutkov is an example of collective pen name in Russian literature.[citation needed]

Concealment of identity

A pseudonym may be used to protect the writer for exposé books about espionage or crime. Former SAS soldier Andy McNab used a pseudonym for his book about a failed SAS mission titled Bravo Two Zero. The name Ibn Warraq has been used by dissident Muslim authors. Author Brian O'Nolan used the pen names Flann O'Brien and Myles na gCopaleen for his novels and journalistic writing from the 1940s to the 1960s because Irish civil servants were not allowed at that time to publish works under their own names.[citation needed] The identity of the enigmatic twentieth century novelist B. Traven has never been conclusively revealed, despite thorough research.[citation needed]
The Histoire d'O (The Story of O), an erotic novel of sadomasochism and sexual slavery, was written by an editorial secretary with a reputation for near-prudery who used the pseudonym Pauline Réage.
For reasons unknown, but perhaps to escape the notice of English authorities, the author Robert Noonan chose the name Robert Tressell as his pseudonym to write the novel The Ragged Trousered Philanthropists.[citation needed]
Alice Bradley Sheldon had a multiplicity of reasons for writing under the pen name of James Tiptree, Jr.: she was a woman writing in the heavily male-dominated genre of science fiction; she was a bisexual woman who may have wanted to avoid the inherent biases of her readers; and she was a career intelligence officer, first in the Army Air Corps and then in the early years of the CIA, for whom concealment was a way of life.[citation needed]
After Stephen King's pen name Richard Bachman got released to the public, King said that Bachman had "died of cancer".[citation needed] After this, King began writing most of his stories under his own name.[citation needed] The event of King's pen name's being released helped conceive another novel, The Dark Half (1989).[citation needed]

Thursday, April 17, 2014

Stephanie Collins new book - WITH ANGELS WINGS






Please join Marsha Casper Cook on April 22 at 9AM PST 10 AM MT 11AM CST NOON EST when she has a very special show about Autism and more with Stephanie Collins the author of With Angels Wings. This is one show you won't want to miss. Her book is based on a true story -her Story.


Twenty-five-year-old Laura resides in Littleton, New Hampshire with her three-year-old daughter, Emily. Her husband, Kevin, a marine, has been called out to sea for six months. Laura has just given birth to her second daughter, Hannah. "Uh-oh. We've got a problem here. I'm hearing a significant murmur." Just thirteen days after giving birth, Laura's life was changed forever by those words from the pediatrician. This is the raw and honest recount of Laura's unexpected journey into the world of parenting a medically fragile, special-needs child. Will her marriage survive? What about her relationship with her older daughter who presents challenges of her own? Will Laura keep her sanity? What part will Laura's stepbrother, Daniel, play in the events to unfold? And how does a cow angel fit into this dramatic journey?


for more info on the show
www.michiganavenuemedia.com

worldofinknetwork.com


Stephanie's book

http://www.amazon.com/Angels-Wings-Stephanie-Collins-ebook/dp/B00GYL9DCA/r


Tuesday, April 8, 2014

Rick Friedberg - HOW TO MAKE IT IN HOLLYWOOD - REVIEWED - Fran Lewis

How To Make It in Hollywood: Rick Friedberg

h


So you want think you want to be a writer, director, actor, and movie producer or even create your own music videos and commercials. Not so fast! There are many things you need to learn, many strategies that will help you survive and stay afloat before you wind up on a sinking ship or worse on a collision course. Back stabbing, undercutting, rear ending, fast talking and even stealing your thunder are all part of what you are about to experience in the world of show business. Even heavily armed cars with bulletproof glass cannot protect you from what you are about to experience in a world filled with self-absorbed, me first only people. But, after you read this insightful, humorous and at times frustrating account of what movie producer, director and writer Rick Friedberg shares with you, I can guarantee that you will be better prepared, have a clearer understanding of whether this business is right for you. Where to begin? He has worked with Academy award winning actors and has written produced and directed many movies but what makes this book quite unique and outstanding is the stories he shares from his own personal experiences and the honest and straightforward way he imparts them. With his 32 rules that you need to follow, underline the salient points, keep a log of your own and jot down how each rule works for you. Whether you are going into this field or any other sports caster, educator, administrator or athlete there is always someone waiting in the wings to steal your thunder, take your place at the top of the heap and make you look like yesterday’s leftovers. So, sit back. Read carefully while I share some of the rules that he created but not all. Like a novel with a twist at the end and a plot that will keep you glued to the printed page until the very end, this book will not only keep you reading until you come to the postscript at the end but will enlighten you as to what you might or might not want to deal with as you enter the world of Hollywood. 

First, think about how badly you want to be in this business. Do you have drive, passion and do you have the stamina to handle what rejection, rewrites, disappointment and hope when things do not go your way? It’s all about Passion says the author and he shares a great story about the award winning series Mad Men on pages 4-7 that will enlighten you. The second rule will help you decide whether you want a career in Hollywood and if you are as obsessed with being successful as our author/writer/producer/director. Starting with shows like The Voice, So you think You Can Dance and American Idol he reminds readers how those that try out must have a real passion for singing, dancing, and hard work. But, even more they have to realize that disappointments come more than success. Coming to Hollywood he relates that his goal was to be a filmmaker. Hopes, dreams and desires as he had written a screenplay hoping that someone would take it. The final outcome read it on pages 10-11. Writing stand-up routines, thinking of a movie idea, writing a song does not come easily as nor does a plot for a good novel. Sharing unusual moments in movies, mainly comedies the author helps readers to understand the difficulties, boundaries, obstacles and classes he attended in order to break into the field. Doing everything possible and understanding as he states and I quote: Conjuring up your own vision-be it a song, book, a book, a movie, script, video or comedy routine takes things like reading, internet surfing and much more. Do whatever it takes!

Is Hollywood the promise land? Find out when you read rule 4? Lessons are not learned in school but are learned by living! How true! Taking an elective class at USC recommended by a friend was a great start. Becoming an intern, taking jobs where you can get them even if the jobs are not at the top of the ladder it might help you rise to a higher rung. Rules 6 and 7 focus on screenplays and movies about subcultures and Doing your own thing. Within Chapter 7 the author shares many stories about how the term: Doing your own thing was coined in Haight-Ashbury and the hippie/acid rock generation. Making movies costs a lot of money is discussed in Chapter 8 and one chapter that will give you the hopeful a reality check is Never Get Your Hopes Up Higher than the Lowest Drawer in Your Desk. Good advice.

The author shares stories about coming from Cheyenne, Wyoming with no friends, contacts or family. Becoming an award winning director as you will learn did not happen over night as he explains that in order to succeed you need to have drive, passion, patience and try not raising your hopes higher than just dresser drawer because if you do, as the author relates, well read the chapter to find out. Money is the focus of chapter 10 and If you write well, they will come Chapter 11 where the prime focus is creating the scene, choosing the right cast, refining but most of all believing in your material.

One chapter that I found quite enlightening and can apply to any field that you are entering is Book your next job before the star of the studio exec croaks or make sure you have another one in the bag before closing the can or saying the final cut on your present project. Read Chapter 12 and learn from the author that you should: Think about that next performance, audition, idea, screenplay or movies before you finish what’s in front of you.” This is definitely true for any vocation as you might be asked to edit a book, rewrite a movie scene, co-author a novel or even teach a college class. But, before you put that final lesson together, or write that last chapter or scene you might want to explore more options to make sure you know where as the author states your “next gig’s coming.” The next chapter deals with how people react to your material, and what happens if you do not act or appear in front of a packed house. Is Humility a highly overrated virtue and something you need to learn from the start: If does not matter what they say about you as long as the spell your name correctly. Telling about his experience dealing with Scientology execs and Rhino guys you will learn exactly what this means and how he got more jobs and more press. Your name spelled right in the entertainment press: PRICELESS!

Fast paced in many respects, humorous stories some quite compelling as the author explains why you need to be  careful when trying something never done before, the birth of Spyhard and how difficult it was to complete it. The pitfalls, the casting situations, the stunts and the long road to success fill the pages of many of the remaining chapters. Working with teens and animals and a wonderful author named Adriana Trigiani whose work I would love to read. Working with her on a project with City kids was rewarding. There are so many rules and important points that he shares that the review would be over 4000 words if I told related everything. Getting a film green lit and understanding that you need to be weary of those you trust or think are your friends is vital. A movie is not completed he states until the final day of shooting. The pitfalls and difficulties of casting and how to work and deal with film crews. Why he always treated and treat them as family is a core lesson that all employers and those in charge should learn. Giving praise where needed, showing respect and taking advice proves that he is a man who is sure of himself, is confident and is willing to learn. Chapter 24 focuses on foreign films and I watched the commercial with Twix Candy and Frankenstein: so amazing and the graphics totally blew me away. I watched another with Chevy Chase and few more to really understand why Rick Friedberg should be considered an icon in this industry. He then goes on to share more of the problems with Spy Hard, UTA, Disney and how things get done: First a producer he states or wanna be producer options a book, story treatment or screenplay. It may and I continue to quote have been written by a produced writer, published author or the producer’s newly graduate from film school’s niece, nephew etc. The rest you need to read as he takes you on the journey along with him as he explains how he met Chevy Chase, the commercials they worked on together followed by all about the credit and blame. This chapter deals with reality TV and the story behind the show: The Real Housewives of Orange County. The rest you need to read for yourself but Chapter 29 I found really valuable as you learn just how cutthroat, vicious and backstabbing this business really is. Dealing with lawyers, agents, actors, movies producers, executives and hoping for the final product to be made, this chapter will help readers decide if they are truly cut out for this or not.

The rest you need to read for yourself as the author concludes with learning from your forebears, what is funny or not and an interesting postscript. Straightforward, honest, to the point, humorous author Rick Friedberg takes readers on his real life journey from the beginning until the present where he hopes to write many more chapters in his life as he made his way to the highest rung on his dresser drawer!
So, you think you want to be part of the Hollywood Scene: Read this outstanding book and decide if you have what it takes!

Fran Lewis: Reviewer

Rick Friedberg Guest on A GOOD STORY IS A GOOD STORY






http://www.blogtalkradio.com/worldofinknetwork/2014/04/08/rick-friedberg--special-guest-a-good-story-is-a-good-story


Join Host Marsha Casper Cook and her co - host Brian Scott Mednick on April 8 at 4 PM EST 3PM CST 2PM MT 1PMPST as they welcome a very specil guest  Rick Friedberg.
Rick Friedberg is an award-winning storyteller. With a background in feature films, episodic television, TV commercials, music videos and documentaries, Rick is comfortable in any medium, directing “real” people and celebrity talent, and supervising live and post-produced visual effects.
It's going to be a great show. Feel free to call in. You can ask questions or go into the chat room and we will be glad to speak with you or answer you in the chat.
Rick Friedberg is an award-winning storyteller. With a background in feature films, episodic television, TV commercials, music videos and documentaries, Rick is comfortable in any medium, directing “real” people and celebrity talent, and supervising live and post-produced visual effects.

Callers are always welcome. Call in number (714) 242-5259                                            
http://www.worldofinknetwork.com
http://www.rickfriedberg.com/HOME.html