Book brings young and old together – Regional News – Yorkshire Evening Post

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1329931233 41 Book brings young and old together Regional News Yorkshire Evening Post

Published on Wednesday 22 February 2012 15:57

Different generations of one community in Sheffield are celebrating their similarities and differences through writing.

The Sharing Our Lives project, hosted by Art In The Park, has already helped to reduce negative stereotypes of young people and help bring personal histories to life.

Now a book of the Sheffield-based project, which started in autumn, has been produced.

It includes work from residents in Sheffield Homes’ sheltered accommodation and schoolchildren who joined forces for the intergenerational writing project. Professional writers helped the residents share their stories and, in later sessions, the pupils were able to ask them questions about their lives.

The resulting book will be celebrated at The Old Junior School, South View Road, Sheffield on February 28 in an hour-long session starting at 1.30pm.

A spokesman for Art In The Park said: “The project was a real bridge between the young and the old. For some children it was the first time they’d spoken to an older person about life in the past. The residents genuinely learned from the children and really enjoyed hearing their chatter and laughter. Fear of young people was reduced.”

Rhian Owen, sheltered manager for Sheffield Homes, said: “This has been a fantastic project to be involved with. I feel our sheltered residents have really benefited from this intergenerational work. The links made with the primary schools will benefit both them and our sheltered schemes. We have made some wonderful friendships and long may they continue into the future.”

Copyright (c) Press Association Ltd. 2012, All Rights Reserved.

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The Spot: Return of the Jedi

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1329930036 54 The Spot: Return of the Jedi Advertisement

GENESIS: For months, Volkswagen and Deutsch debated whether—and then how—to do a sequel to "The Force," their runaway hit from the 2011 Super Bowl, for the 2012 game. "There's not a lot of great sequels. For every Godfather II, there's a Godfather III. For every Jaws, there's a Jaws 5," said Deutsch group creative director Michael Kadin. In the end, they felt they had to go back to the material. "To ignore it would have been glaringly obvious and strange," said Kadin's creative partner, Matt Ian. "It begged for a follow-up." After considering hundreds of scripts, they decided to do two spots—or rather, one plus an epilogue. The ad (which aired as a :60 during the game, with a :75 released online a few days before) begins with the story of a dog who wants to chase a Beetle, then segues to the Star Wars cantina, where the motley patrons discuss whether the new ad is better than the old one. To the agency, this was an elegant solution—giving life to an authentic stand-alone VW spot (that will now air on TV without the epilogue) while also nodding, in a postmodern way, at the juggernaut of the original. COPYWRITING: The dog script fits into VW's brand tapestry of simple stories told simply. The dog wants to run alongside the car, but is too portly to fit through the home door flap—so he exercises until he finally makes it outside and scampers after the Beetle. "The dog is a metaphor for all of us" after our New Year's resolutions, Kadin said. "There's something very human and culturally relevant there." The dog section lightly references "The Force," with its family home, lack of dialogue, and voiceover line, "Back. And better than ever." The cantina scene, meanwhile, centers on Dr. Evazan and Walrus Man, characters who had an altercation with Luke in the original Star Wars. "They're still there. They're barflies, the loudmouths who comment on everything," Ian said. After Dr. Evazan blurts out his approval of the new spot, he finds himself in the Jedi grip of Darth Vader himself, who's a Little Vader fan. Vader releases his grip, and Evazan wheezes an apology. At first, the writers weren't sure about being so self-referential. "But it was just such a weird, funny, meta thing, we couldn't ignore it," said Ian. ART DIRECTION: The dog section is warm and lush, with the red Beetle popping off the earth tones of the neighborhood. The cantina is the opposite—bustling, shadowy and claustrophobic. The agency worked with Lucasfilm to rebuild the cantina exactly as it was and get the masks and makeup right on the characters. (There's no CGI.) FILMING: Lance Acord, who directed "The Force," returned for this spot, shooting the dog scenes in three days in Pasadena, Calif., and the cantina scene in a day at Universal Studios. TALENT: Bolt, the dog, had to wear a doggy fat suit for the early scenes, as the creatives decided that using several similar-looking canines of different sizes would involve too much training. The actors in the cantina were cast to look as much like the originals as possible. SOUND: Mournful piano music plays in the dog section until he starts exercising, when it switches to James Brown. In the cantina, the familiar song by house band Figrin D'an and the Modal Nodes plays. "Would you even be listening to music while watching the game? Maybe not," said Ian. "But it puts you in that place. You have to suspend your disbelief." MEDIA: The :75 rolled out online on Feb. 1, following an earlier teaser with a doggie choir barking "The Imperial March." An app on the VW website lets users create Super Bowl party invitations in the style of the Star Wars title crawl. THE SPOT: CREDITS: Client: Volkswagen of America Tim Mahoney: Chief Product and Marketing Officer Brian Thomas: General Manager, Brand Marketing Eric Wilson: Brand Marketing & Diversity Communications Manager Spot: "The Dog Strikes Back" Agency: Deutsch, Los Angeles Mark Hunter Chief Creative Officer Michael Kadin Group Creative Director Matt Ian Group Creative Director Brian Freidrich ACD Copywriter Mark Peters ACD Art Director Vic Palumbo Director of Integrated Production Victoria Guenier Director of Broadcast Production Jim Haight Senior Producer Marina Korzon Associate Producer Production Company: PARK PICTURES Lance Acord: Director Jackie Kelman Bisbee: Executive Producer Mary Ann Marino: Executive Producer/Head of Production Pat Frazier: Line Producer Editorial: UNION EDITORIAL James Haygood: Editor Dylan Firshein: Assistant Editor Michael Raimondi: Executive Producer Joe Ross: Senior Producer Post Facility/Telecine: CO3 Stefan Sonnenfeld: Colorist Offline/Visual FX Company: A52 Megan Meloth: Producer Patrick Murphy: VFX Supervisor Music/Composers Licensed Music: James Brown "Get Up Off of That Thing" Scored/Original Music: Elias Arts Sound Design: 740 Sound Design Audio Post Company: LIME STUDIOS Mark Meyuhas: Mixer/Owner Matt Miller: Assistant Mixer Jessica Locke: Producer

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What to Know About Resume Writing Services

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1329929959 92 What to Know About Resume Writing Services

Professional resume writing services are the answer to the professional who wishes to have a professional resume that reflects his skills and qualifications in the most exceptional way. By doing so, they are placed at the top as far as job opportunities are concerned.

Professional resume writing services are the answer to the professional who wishes to have a professional resume that reflects his skills and qualifications in the most exceptional way. By doing so, they are placed at the top as far as job opportunities are concerned. The fact that there are less jobs and more job seekers means that as far as employment opportunities go, there is very tough competition. People who have resorted to hiring resume writers will attest to the fact that there are a lot of benefits to be accrued from this very wise investment.

If you decide to hire resume writing services to come up with a professional resume for you, there are many ways of finding the best of them. There are many online resume writing companies offering different packages for their potential clients. In order to choose from the vast array of companies available, it is important that you know what you are getting yourself into. Be sure to get references and resume samples from these companies before settling for a particular one of them. Also, ensure you read the terms and conditions before signing up to do business with these online resume writing companies.

Resume writing services come at different costs depending on the experience of an individual resume writer. However, the price normally ranges between $300 and $1200 for the very experienced resume writers who will produce a work of expertise and quality. These online companies that offer resume services may quote fees that were initially not indicated. This is because they may offer you video courses, personality development training and even online training for interviews. Ask in advance whether you will be charged for the various add-ons that will come together with the professional resume so that you can organize your finances well in advance.

Some professional resume writing companies will go a step further and help you in your job search by forwarding your resume to various job placement agencies and reputed companies. The process of making a high quality professional resume should not take too long. However, if there are numerous consultations to be made and in special cases like in the making of a military resume, patience should be exercised. Normally, a week should be enough for a professional resume to be complete. Once the resume writers that you hire are done with your resume, they will present you with high quality printouts and sufficient copies of the resume, together with other supporting documents. It is also important that you make it clear that you would prefer if your partnership with the professional resume writing company continues so that you can edit and update you resume with ease. Most resume writing services will be happy to oblige.

Whichever resume writing services you choose to work with, you should make sure that they are trustworthy. After all, you will be disclosing your confidential information to them and you want to be able to sleep at night knowing very well that your personal information is in safe hands.

Resources:Steve Gray is the author of this article on Professional resume. Find more information on Resume writing services here

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Bog workshops start with birds

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1329928827 76 Bog workshops start with birdsBog workshops start with birdsBy SALLY ENGLECedar Bog Assn.Tom Hissong of Aullwood Audubon Center and Farm will present an avian workshop at Cedar Bog at 10 a.m. Saturday, Feb. 11. Education Director of Aullwood, he will begin the day with a workshop on raptors, our fascinating birds of prey. Attendees will be introduced to the world of hawks, falcons and owls and their habits and learn how to identify their habitats and habits. They will also have an opportunity to dissect owl pellets during this two-hour segment of the day.After a break for lunch, and visitors should bring their own lunch, the workshop will resume with a look at Ohio’s winter birds. Although from an early age we learn that birds migrate south for the winter, there are plenty of our avian friends that brave Ohio’s cold temperatures and unfriendly climate during the winter months. Hissong will take attendees for a quick tour of these hardy winged creatures through slides and entertaining discussions as we learn about the ones that stay behind.Join us for this entertaining and informative start to Cedar Bog’s workshop series this year. Raptors will begin at 10 a.m. and end at noon. Winter Birds of Ohio will begin at 1 p.m. and end at 3 p.m. There is an admission fee for the lecture. Cedar Bog Nature Preserve is located at 980 Woodburn Road, Urbana. For more information please call us at 484-3744 or email .

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Four promoted, two hired at dunnhumbyUSA

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1329927631 79 Four promoted, two hired at dunnhumbyUSA

Promoted at dunnhumbyUSA downtown: John Rudisill, Lauren McHugh Santoianni, Koustav Dasgupta, associate directors; and Kyle Schlotman, senior associate. Joining the company are Brandon Wilmon, senior associate, and Claire Shelton, associate.

John Rudisill will be responsible for leading direct mail campaigns for dunnhumby clients to improve relevancy of content to loyal customers. Previously a senior associate, custom insights, Rudisill earned a bachelor’s degree from Miami University and a master’s degree from the Ohio State University.

Lauren McHugh Santoianni will be responsible for helping consumer packaged goods clients develop and implement customer-centric strategies. Previously a senior associate, client leadership, Santoianni earned a bachelor’s degree from the University of Dayton.

Koustav Dasgupta will be responsible for providing leadership on data solutions planning for dunnhumby clients. Previously a senior associate, data solutions, Dasgupta earned a master’s degree from the University of Cincinnati.

Kyle Schlotman will be responsible for working with clients to better understand customer behavior throughout the shopping experience. Previously an associate, client leadership, Schlotman earned a bachelor’s degree from Indiana University.

Brandon Wilmot will be responsible for creating relevant content for customer communications. Prior to joining dunnhumbyUSA, Wilmot served as copywriter for The Ad Store New York where helped to create successful ad campaigns for such clients as Zappos.com, Jimmy John’s Gourmet Sandwiches and Dean College. He earned a bachelor’s degree from Hunter College School of Arts and Sciences.

Claire Shelton will be responsible for assisting in the development and management of marketing campaigns for dunnhumby clients. Prior to joining dunnhumbyUSA, Shelton served as marketing coordinator at Anthem Blue Cross and Blue Shield. She earned a bachelor’s degree from Northern Kentucky University.

Posted in: New hires, Promotions

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Innovating Office For iPads: Or, Why Microsoft Should Stop Worrying And Learn To Love Apple

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1329927564 92 Innovating Office For iPads: Or, Why Microsoft Should Stop Worrying And Learn To Love Apple

The online publication The Daily is embroiled in a fuss about its leak of plans to bring Microsoft’s Office suite to the iPad. The Daily’s convinced the software is for real, but Microsoft has issued a tissue-thin denial that actually confirms or denies nothing material. Meanwhile, the general feeling is that MS would be crazy not to expand its Office domain onto the best-selling tablet PC–one that’s causing a computing revolution. But Microsoft is actually facing a stickier problem here.

It’s about price and precedent.

MS would be foolish not to address the iPad App Store as a market space because Apple’s tablet is continuing to dominate the scene, is likely to do so for a while, is affecting PC sales and is penetrating into business workplaces (with a recent survey saying 91% of business and IT pros using one for work). That’s MS’s traditional Office stomping ground. MS’s own Windows 8-powered tablets aren’t due for a while yet and will likely take a while longer to actually establish a decent market share, so delaying a tablet edition of Office until then could miss out on potential sales. It’s also arguable that while Android is building its tablet market share, writing Office to be compatible with so many subtle variations of Android OS and hardware would be a lot more work than aiming at Apple’s product. 

So, let’s assume that MS really is developing a version of Office for Apple’s iPad that embodies some of its own Metro mobile OS styling as the leaked imagery hints. Let’s guess that MS may even build in some of its upcoming SkyDrive tech to facilitate cloud storage, thus boosting business-user productivity (when users later download that PowerPoint slide they were working on to their office PC) and competing with Apple’s iCloud system. That sounds great, doesn’t it? MS fans, or those merely chained to MS by years of having to use its products, will get their familiar systems on a new and very chic computing platform that’s ideal for use while commuting and which will enable perfect compatibility with their PC apps at home or their desk.

Now–how does Microsoft price this code?

Apple already has its own business productivity apps on the iPad with Pages, Numbers and Keynote, and they offer compatibility with MS’s system and interlock through the cloud to Apple’s own desktop versions. If you use one iTunes account on several iPads, thanks to the way Apple’s system works you only need pay once for these apps. They sell for a very reasonable $9.99 each, allowing Apple to continue its PR effort that points out how many apps you have to pay for on PCs are free, already installed or low-cost on its hardware.

Microsoft could easily price at or very near to the same point and compete directly, relying on the massive inertia the Office name carries.

But Office on the PC costs $119.99 for one user on a home PC for the lowest “Home and Student” edition, and $349.99 for the full “Professional” version. That’s four times the cost of Apple’s iPad apps for the entry level and over 11 times the cost for the top edition. It costs more still to install Office on a handful of PCs ($499.99 for the Pro version). So pricing the tablet edition at $30 for the full package could set a precedent among consumers to expect lower prices for the desktop software too. Which would hurt MS because Office is one of the world’s best selling pieces of software and it makes up a big part of the company’s profits (it may, or may not, have recently superceded Windows as the biggest contributor to MS’s bottom line, and was credited with boosting a 6% rise in MS quarterly profits to $5.74 billion late in 2011).

So MS could make the tablet versions not fully-featured, arguing (perhaps without real basis) that the tablet environment isn’t suited for the full workload of, say, Excel or that the hardware wouldn’t support it. That sets a bad precedent for its own software on Windows 8 tablets then: Why buy a Win 8 tablet if the apps are already on the iPad cheaply, and why buy them at all if they don’t work as well as the desktop ones? If MS then chooses to make the Win 8 versions of Office better than the iPad ones, this would be simply exposed as marketeering and could alienate a considerable number fo consumers who already love their Apple product. And don’t forget the rumors about the upcoming iPad 3–its super high-resolution screen will best that on many PCs, and its hardware would thus seem perfectly capable of supporting as complex an app as Excel. It may even best the upcoming Windows 8 hardware.

And Apple, seeing the app competition, could always spend a little effort to brush up its own iWork suite on the iPad to improve both functionality and cross-compatibility with Microsoft’s software, and quickly nullify any added value in buying Office and maybe even Windows 8 tablets. After all, the iPad is very publicly applauded right now and who would spend $500 to $800 on one in March, complete with their familiar MS Office aboard, only to ditch it for an unproven Windows effort late in 2012?

Hence Microsoft is trapped in a version of the famous prisoner’s dilemma, being forced to cooperate uncomfortably with its erstwhile “enemy” in order to make profits from the iPad’s success, so both parties ultimately benefit. Its one true path out of the mess is to truly innovate for once, and deliver such serious added value from the iPad edition of Office and the Windows 8 version that it actually attracts customers because of its strengths and new features. Does that sound like a typical Microsoft solution to you?

[Image: Flickr user x-ray delta one]

Chat about this news with Kit Eaton on Twitter and Fast Company too.

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Avoid These Common Grant Writing Mistakes

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1329924020 94 Avoid These Common Grant Writing Mistakes

Jonathon Ross Carrington

“I am too busy to finish writing this grant by the deadline.”

“I don’t know where to start on writing grants, and I don’t have the staff or money.”

“The funding agency has never heard of me!”

Does this sound like you?

They are common excuses made by leaders of nonprofit organizations to justify the reason for not receiving grant funds.

It is very easy to make excuses; however, if you don’t try, you will never know what will happen.

Your programs deserve grant funding.

The real reason why your program is not awarded grant funding is because of simple, amateur mistakes in your grant proposal submission.

The mistakes stem from the lack of experience with grant writing and the lack of time management and research skills.

One of the biggest mistakes found in most grant applications is the lack of familiarity with the funding agency.

Before you make another mistake in your grant proposal, take a look at the most commonly known mistakes made in the grant proposal process.

STAGE ONE: MISTAKES IN UNDERSTANDING THE PROPOSAL PROCESS

Submitting Generic Proposals

First-time grant seekers are unfamiliar with the general process: common grant proposal elements and how proposal writing works.

There is this belief that submitting a canned grant proposal from an online template or book will do the job in receiving the grant.

The canned proposal submission reveals a laziness of the applicant and disconnection from the goals and mission of the granting agency.

Not following instructions or reading the Request for Proposals (RFP)

When you do not follow instructions, you have a poor chance of receiving the grant.

Foundations, corporations, and government agencies receive thousands of grant proposals, and determine your ability to follow instructions by the way the proposal is presented to the agency.

Solutions:

Take time to understand the proposal process by enrolling in an online grant writing workshop or conference that teaches the basics of grant writing, or go to your local library and check out grant writing books to learn the process.

Knowing your grantor is key to developing a relationship with a funding agency.

Take time to learn their mission, granting purposes, and results or outcomes expected from your program.

Grant program officers look at whether or not you followed the RFP instructions.

If a funding agency requests a three-year operating budget, then create one.

If they request paper clips rather than staples, then use paper clips.

If they only accept applications from pre-selected organizations, then don’t apply.

STAGE TWO: MISTAKES IN CREATING PROPOSAL TIMETABLES

Submitting the Proposal Late

Proposals are often received after the deadline, which is presented as a rushed and incomplete application.

Applicants are known to request an extension to complete the application.

Contacting the Foundation with Last-Minute Questions

Applicants contact program officers at the most busiest times of the day.

They call or e-mail with last-minute questions.

Funding agencies will not answer or return your calls and/or e-mails in a timely manner.

Solutions:

Create a timetable with deadlines from the start and end of writing your proposal.

Timetables always change your research progresses.

Visit their website first to see if a FAQ section answers any frequently asked questions.

Schedule a time in advance to speak with a agency representative for additional assistance to compile all of the information you need before writing the proposal.

STAGE THREE: MISTAKES IN CONDUCTING RESEARCH

Failure to thoroughly research the funding agency’s interests

Proposals do not succeed because of its superficial research.

It is not enough information to know that the foundation makes grants for education.

Do they support K-12?

Do they specialize in organizations with high poverty schools?

Focusing on the needs that your program does NOT plan to address

Applicants go overboard with information about the need of the organization rather than the needs that the project will address.

Asking for the wrong amount

Grant applicants request substantially less or more than the typical grant size of a funding agency.

If you ask for less, then you have underestimated your program’s need and the agency’s giving.

If you ask for more, then you have not done the sufficient research about the funding agency’s grant size.

Solutions:

Identify and locate all of the information you need to develop a solid proposal.

Identify the perceived need that your program addresses, the solution that your organization proposes, and the nature, mission, and methods of funding sources you hope to approach.

Research past grant making history of your potential funding sources.

Determine the grant size awarded to similar organizations, which is the amount that you want to request in your application.

Your research questions are thoroughly answered in the foundation’s guidelines, online research databases, the agency’s website, and the IRS 990 form.

Outline how your program will deliver the services to the people who need it.

Include what your organization can do for more people in receiving the grant in a general operating support request.

STAGE FOUR: MISTAKES IN BUILDING YOUR PROPOSAL’S FOUNDATION

Too much emphasis on the “why”, not enough on the “how”

When a poorly written proposal is submitted to a funding agency, reviewers have little patience for bad writing.

Many novice grant writers present an overly sentimental story about the problems of their target population, and why the program should be funded rather than how the program will address the need.

Solutions:

Recognize how each potential source will make a good match for your proposal.

You should be equipped with the information to address the perceived problem and the proposed solution.

Present a step-by-step guide for the reader on how your program will meet the need by including measurable goals and objectives and an explicit, actionable plan.

Include how you will record, collect and measure information on your program’s successes and outcomes.

STAGE FIVE: MISTAKES IN PREPARING YOUR APPROACH TO FUNDING AGENCIES

Not participating in informational calls/seminars

Proposals are denied because of detailed information missed in an informational session conducted by the funding agency.

Not all of the details can be found in the RFP.

Many organizations have experienced cases where their proposal did not comply with a restriction explained in a meeting, disqualifying their proposal.

Preaching to the choir

Organizations assume that funding agencies know everything about the applicant’s organization, especially when describing the capacity to carry out projects, using industry jargon, and other catch phrases.

Solutions:

Attend the informational seminars and calls and collect additional information and material you may need to know about the funding agency.

Use simple language throughout your proposal and present a clear case about your program’s need.

STAGE SIX: MISTAKES IN WRITING THE BODY OF YOUR PROPOSAL

Not enough detail

Nonprofit executives become absorbed in day-to-day business of fulfilling the agency’s mission that certain details about the programs, organization, and mission statement often get left out of the proposal.

Too much detail

Sometimes, proposals have too much information that embellishes the problem or ideas about the project.

Submitting sloppy budgets

Program offers detect over hundreds, if not, thousands of sloppy budgets every year. They will know if you left out a major item or padded the salaries.

Inadequate/Unrealistic cost analysis

Proposals have unrealistic cost estimates that make nonprofits appears fiscally inexperienced and incompetent.

Also, proposals miss the mark in including income projections, making your organization appear too dependent.

Lack of Quantitative Data

Nonprofit grants are too light on hard data, with no quantifiable objectives and results.

Not Asking for the Money

Many proposals forget to include the amount of the grant they seek in the proposal.

Solutions:

Structure each section of the project.

Grant reviewers are learning about your project for the first time so provide specific information.

Each section of your narrative shows how the funds will be used responsibly and effectively by your organization.

Prepare the budget with same care as the narrative and match each section point for point.

STAGE SEVEN: MISTAKES IN REVIEWING AND REVISING YOUR PROPOSAL

Careless Editing and Proofreading

Program officers have to read over 600 grant proposals on the same topic.

The problem with some proposals is that they find themselves re-reading sentences in your proposals due to typographical and grammatical errors.

Not using the checklist provided in the RFP

Many nonprofits don’t look at the checklist provided by the funding agency.

Lots of applicants leave out required pieces of the proposal, disqualifying the candidate from the start.

Solutions:

After finishing your proposal, review the proposal carefully.

Refer to the funder’s proposal guide and verify all of the essential information is included in the proposal.

Proofread for grammar, spelling and syntax errors, and have a friend or colleague read it for you.

The checklist is usually found in the guidelines; and it is important for a funding agency to know that you followed their directions and did not miss any required pieces of the application.

PHASE EIGHT: MISTAKES IN SUBMITTING YOUR APPLICATION

Simply not asking for the grant you need, or not submitting the grant at all

Grantseekers love to make excuses such as:

“It’s not the right time to apply for the grant” or “The economy is down” or “I am too busy to finish the proposal before the deadline” or “Grantors don’t know who we are”.

Solutions:

Submit the proposal according to the RFP guidelines in a timely manner whether or not it is the right time to apply.

The economy will always have its ebbs and flows, but does not excuse your organization from asking for a grant from a funding agency.

If your organization is too busy to ask for funds for a deserving program, then your organization should not even exist.

Make time to ask for support for your programs, and also take time to develop a rapport with a prospective funder.

Excuses are easy to come by, but you will continue to make these mistakes and never get any funding if you just don’t try.

They could write a daily journal, with complete details of their day. For why I presume it's time to buy writing, see my previous article. These companies have professional content writers who excel in for different websites. The online writers industry is anxious to save as many shekels as they can. Some might be good at one while others might be good at others. Besides that, good content should have an innate ability of persuasion that can help an organization make a strong impact on the target. What do you have to lose? You may not realize this is necessary to stay on top of script writing jobs and I feel broken inside. Professional SEO or content writing in India, companies are very adept at writing effective content in bulk. And that's what keeps people coming back to a website after the thrill of the flash wears off.

SEO Copywriting Services

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1329922757 47 SEO Copywriting Services

Do you own several websites? At Micrositez we recognise that SEO copywriting services complement an SEO campaign, and so should you!

Copywriting Tips

You can have a website that has cost thousands of pounds, has been designed by the best designer in the world and it could still fail! What’s the problem? The content! That’s right; Content is king! To really make a difference in the digital age you need to have a professional website with excellent content. There are two specific copywriting tips that you must always adhere to;

1. Write the copy for the major search engines (Google, Yahoo & Bing)

2. Write the copy for the users/visitors!

Hang on a minute…how can you do both? That’s exactly why you need to speak to an expert SEO copywriter like the team behind Precise English. Experience SEO copywriter companies with a vast amount of knowledge when it comes to writing compelling content that is also optimised for the search engines are like gold dust for website owners!

For more copywriting tips and information on how SEO copywriting services can help your business, get in touch with a professional copywriting & proofreading company like Precise English Limited.

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Human Resource / Administrative Officer

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1329921574 78 Human Resource / Administrative Officer

Population Services International (PSI) is a leading global health organization with programs targeting malaria, child survival, HIV and reproductive health.Working in partnership within the public and private sectors, and harnessing the power of the markets, PSI provides life-saving products, clinical services and behavior change communications that empower the world’s most vulnerable populations to lead healthier lives. PSI has programs in 67 countries.

For more information, please visit psi.orgThey are currently seeking a talented and motivated Vietnamese individual working full time with our dynamic team in Hanoi for below position:Job Title: HR/ADMIN. OFFICERReport to: HR Manager

Job summary:HR/Admin Officer, in collaboration with and under supervision of the HR Manager will implement the tasks and issues related to PSI/V staff according to organization’s policies and procedures properly and confidentially. This position will also be responsible for a number of Admin. tasks in supporting other departments to achieve PSI’ health objectives and mission

Major duties:Human Resources- Assist HR Manager in recruitment process including contact with service suppliers for job posting, screen applicants, co-ordinate and arrange written test and/or interview, check references of the finalist. Facilitate HR Manager in registration for new employee with appropriate authorities to ensure the compliance to applicable Labor Law and PSI’s employee manual.- Co-operate with the third party to ensure employment contracts for field staff are in compliance with applicable laws and regulations as well as with the contract signed between PSI and third party. In charge of contract management and leave control for all field staff- Update leave records weekly and submit to HR Manager for review. Maintain the leave record files properly. Ensure timesheet of all staff are checked and verified according to leave record file- Act as focal point for insurance issues including statutory health insurance and additional health package and annual heath check for all staff- Facilitate and support HR Manager in annual performance appraisal (PA) process. Consolidate the needs of capacity building based on PA result for staff career planning.- Support HR Manager in organizing social events/activities e.g. family event, staff meeting, etc.

Administration- Translate of incoming and outgoing correspondences- Support program depts. by (i) Translate training brief, tools, materials, letter (ii) Follow up with invited participants to attend training (iii) Collect reports, data from local partners- Entry data for meetings/trainings on TRAINET/VCS. Provide general support for workshops, training event when required

Selection criteria- University degree in relevant fields- At least 2 years experience in human resource implementation, administration activities, preferably in international organization, INGOs and/or bilateral companies. Solid and proven understanding of local Labor Laws, regulations and Social Insurance Law.- Excellent English both speaking and writing skills. Proficiency in MS suites- Good prioritization skill and ability to manage multiple tasks. Excellent interpersonal, communication skills and high teamwork

A competitive remuneration package will be offered to the successful candidateInterested candidates are requested to submit detailed curriculum vitae (CV) with a letter of interest indicating the position you are applying for as well as copies of relevantcertificates/degrees no later than 17:00pm on 22th February 2012 to HR Department, PSI Vietnam; Address: 4th Floor, Side B, TOSERCO Building, 273 Kim Ma, Ba Dinh,Hanoi; Email:vn or fax: (04) 3944 6323; Only short-listed candidates will be contacted for interviews. Please do not contact via telephone. Dossier will not be returned

Job Details Organisation Name:  PSI Location:  Ha Noi Application Deadline:  Wed, 2012-02-22

I would absolutely suggest going with writing that you truly enjoy. If you were a lawyer or a doctor writing professionally about your field, for example, it might be more beneficial to use formal written English. The articles written are checked and evaluated by the auditors to eliminate any kind of grammatical flaw. An example is "She added a personal touch to the personal letter she wrote." The second type of redundancy that many writers miss in their own writing is repeating the same idea in different words: "Her message was effective because it was personal. Common Academic Writing Mistakes And How To Avoid Them You can never write a successful academic essay until and unless your revise it properly.

BU Literary Lions Take the Stage Tonight

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1329920419 13 BU Literary Lions Take the Stage Tonight

Among those participating in tonight’s faculty reading are (clockwise, from top left) Ha Jin (GRS’94), Chloe Martinez (GRS’06), Robert Pinsky, Molly Smith Metzler (GRS’02), Leslie Epstein, Rosanna Warren, and Sigrid Nunez. Photo of Molly Smith Metzler by Carolyn Fong. Photo of Sigrid Nunez by Marion Ettlinger

One of Boston’s premier literary events takes place tonight when BU’s Creative Writing Program hosts its annual Faculty Reading, where faculty and recent graduates of the program read from their poems, novels, and plays—some of which have never been shared publicly.

The six faculty members reading are Ha Jin (GRS’94), a College of Arts & Sciences professor of creative writing, who will read from his latest novel, Nanjing Requiem (Pantheon, 2011), poet Rosanna Warren, BU’s Emma Ann MacLachlan Metcalf Professor of the Humanities, novelist Sigrid Nunez, a CAS visiting lecturer, Robert Pinsky, a CAS professor of English and former three-time U.S. poet laureate, Leslie Epstein, Creative Writing Program director, and poet and critic Dan Chiasson, a CAS lecturer in creative writing, whose most recent book is Where’s the Moon, There’s the Moon: Poems (Knopf, 2011).

The evening will also feature readings from two recent program graduates, playwright Molly Smith Metzler (GRS’02) and poet Chloe Martinez (GRS’07). Metzler, whose play Close Up Space was produced by the Manhattan Theatre Club last year in a production starring Frasier’s David Hyde Pierce, says she plans to read from her new comedy, Elemeno Pea.

Metzler says she loves writing for the stage, primarily because it’s so hard to do. “You get nothing—you get a blank stage and a blank page,” she says. “Yet your job is to create a blueprint for something worthy of enormous collaboration, worthy of a director, and actors, and designers and an audience that is going to willingly sit in a dark room with strangers for 90 minutes. It’s a humbling and terrifying and thrilling and exceptional responsibility.”

Warren, who will read from her poem “Glaucoma,” recently published in the New Yorker, says the poem “came right out of autobiography: medical reality, a friend’s death, the impending loss of a property to which my partner and I have been very attached.” She also plans to read “a zany political poem,” she says.

Epstein will read excerpts from his just published novel Liebestod: Opera Buffa with Leib Goldkorn (W. W. Norton, 2012). “I have been reading different parts of this novel for the full five years it has taken to write this book,” Epstein notes. “At last I can stop. Farewell, Leib, you sweetheart! You darling! Farewell!”

Dan Chiasson (left) has written four books and received numerous awards, including a Guggenheim fellowship and a Pushcart Prize. He is an associate professor of English at Wellesley College as well as teaching at BU and is the New Yorker poetry editor. BU Today recently spoke with him about what inspires him to write and the new poem he’ll read tonight.

BU Today: You were in your mid 20s when you started writing poetry seriously. What drew you to poetry?

Chiasson: I was drawn to reading poetry at an early age. I never studied an instrument for very long as a kid; a few flute lessons was as far as I got. But I think I had essentially a musician’s approach to language. Language was my instrument. It’s true that I stopped thinking of myself as a “poet” after high school, but that was mainly because I was so immersed in the poetry of the past, I figured I could never match up. I mean, if you spend your days reading Milton, in one way that’s inspiring, but in lots of other ways it’s pretty humbling.

When you begin writing a poem, how do you approach it?

I write poetry so infrequently. I’m not the kind of person who has a writing desk with piles of drafts on it. I suppose I just work things over in my head until I’m ready to go. I usually write very rapidly once I’m in something. The long poem in my next book, called “Bicentennial,” I wrote in an afternoon, standing up at the counter of an apartment we were renting in Paris. Occasionally an email would come in; I’d answer it and go back to writing the poem. It was, and is, an odd, mixed state of immersion and distraction when I’m writing.

Where do you find inspiration?

I’ve found inspiration in any number of things; I never know ahead of time what will work. The main thing is to develop habits and hobbies that remove the conscious mind from the burden of “must write a poem; must be inspired.” So I write lots of essays, and correct my students’ papers, and play with my kids, or talk with my wife, or fret over money, or watch a baseball game, or look at old YouTube clips of news broadcasts from my childhood—whatever. Something ends up being “inspiring.”

Does your work as New Yorker poetry critic inform your poetry, and vice versa?

I don’t know many poets very well; my wife isn’t a poet; the vast majority of my friends are not poets or writers; my family wasn’t a highly literary family. So writing reviews and teaching (the two are a lot alike) are my way of explaining myself, explaining what matters to me on the inside, to readers whose interest in poetry I can’t take for granted. Writing poetry is very different. It feels more like secrecy than candor, more like privacy than congeniality. When I write a poem, I figure somebody somewhere might be able to explain it. When I write reviews or teach, I’m that somebody.

As a critic, what do you think makes for a good poem?

Honestly I have no idea. I like all kinds of poetry. I can only be very vague: poetry has to surprise without being gimmicky, it has to have an emotional core, and it has to have a playful, insouciant attitude towards language. Robert Frost called poetry “play for mortal stakes.” I agree.

With all your other duties, how difficult is it to find time to write?

Free time is very bad for my writing. So I try to keep as busy as possible, and figure the poems will come. I write more poetry now, with kids and jobs and writing assignments with deadlines, than I did when I had all the time in the world to waste. I am a great waster of free time; there needs to be almost none for me to be happy. Reading is another matter; I often feel I don’t have enough time or mental sharpness to read what I need to read to keep my mind fueled.

What poet influenced you when you began writing poetry?

Too many to name. But Frank Bidart made a real difference to me personally; he has taught me the most of anyone in my life about poetry. Robert Pinsky read at Amherst when I was an undergraduate; I’ve never forgotten it, and I think his “music” is probably the music I’ve learned the most from, found most useful. At Harvard, it was Jamaica Kincaid, my dear friend and our older son’s godmother, who most inspired me to be a writer: her uncompromising idea that writers tell the truth, plain and simple, along with her wild mind and sense of humor. Louise Glück has been an incredible friend and a constant source, in her work, of surprise and invention and just pure human intelligence.

What will you read tonight?

I’m going to read, very rapidly because we don’t have a lot of time, the title poem from my next book, Bicentennial. It’s about my earliest memories of the Bicentennial parade in Battery Park, Burlington, Vt. I was five. I think it’s cool that my earliest memories—there are none earlier—were of that day and celebration. There was a band concert with veterans in uniform. There were hippies. All these names for what I was seeing, of course, came later; all I have is inchoate impressions. The poem is about my childhood and the sensation of getting one little sliver of history that’s yours to glimpse, before it’s other children’s turns to glimpse their little sliver, and on and on. It has a Ferris wheel in it. I think almost constantly about Ferris wheels and other amusement rides these days.

The annual Creative Writing Program Faculty Reading is tonight, February 22, in the Photonics Center Auditorium, 8 St. Mary’s St., at 7 p.m. It is free and open to the public. More information is available at 617-353-2510, by email at , or here.

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