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How the Internet changed the new world of information and social media

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How has the media in general changed since the age of digital journalism became the new world of information? Are we watching one another, including writers and publishers or producers in new ways? Journalism today also includes social media information connections that broke into mainstream media in 2004, even though 'push' news technology had been bringing journalism to computers since 1996. Most authors are concerned with books going out of print if they don't sell a high enough number in a publisher's quota to stay in print. See, "Digital books never go out of print. They are always there."

See, "November, 1996: "The Digital Absence of Localism." Or take a look at, February, 1996: "The Future of the Book." Or take a look at the piece, June, 1995: "Digital Videodiscs: Either Format Is Wrong." What happened at the dawn of the Internet reaching the media and the public? You may wish to check out, January, 1997: "Updated List of Columns, with a brief summary," by Gérard Martin

And journalism research existed for media professionals and students since at least 1993, even though the first easy-to-use browser came into existence for the general public in 1995. See, December, 1996: "Laptop Envy." Or check out, June, 1996: "The Next Billion Users." Or see, January, 1996: "Where Do New Ideas Come From?" Check out "The DNA of Information."

Before 1993, media connections and fresh news stories were posted on various bulletin boards that journalists could access with computers. Many journalists first learned about how to user the Internet to research news and feature pieces by attending journalism conventions where Internet demonstrations were shown. See, "July, 1996: "Object-Oriented Television." Check out, July, 1995: "Affordable Computing."

You had computer bulletin boards where professionals posted information for different industries: Some news for journalists, other employment news for animation scriptwriters. Outsourcing journalists was at the dawn of that new age even though artists already were outsourced overseas for drawing animation. The nineties was the era when information was referred to as a new age of communication, catalysts, and connections. See, August, 1995: "Bit by Bit, Pcs Are Becoming Tvs. Or Is It the Other Way Around?"

Michael Dertouzos, director of MIT’s Laboratory for Computer Science wrote the book, How the New World of Information Will Change Our Lives. And Bill Gates wrote the forward to his book. Also check out, October, 1996: "Electronic Word of Mouth." You also may be interested in the article, October, 1995: "2020: The Fiber-Coax Legacy."

More than a decade ago, Nicholas Negroponte, MIT’s Media Lab director, wrote “Being Digital.” See, November, 1995: "Being Nicholas," the Wired Interview by Thomas A. Bass. Also see, September, 1995: "Get a Life?" Or see, May, 1996: "Caught Browsing Again."

This new genre of future trend forecasting in technology as it affects people and culture, is hot on the tracks even today, a decade later. The next step is the Internet plugging into us, because Dertouzos forecasted back then “bodynets” in your clothing that will allow you to get e-mail, make calls, watch TV, shop, pay bills, surf the ‘Net, as you’re in motion doing something else. See, ""Being Digital" by Nicholas Negroponte, Contents of Online Version." Check out, December, 1995: "Wearable Computing."

Do we have such gadgets today? Sure, we can pay bills online, shop, bank, or watch smart TV and surf the web or stream movies on computers instead of having to watch them on discs or flash drives, should we choose. You also may wish to check out, August, 1996: "Where am I?" Or see, April, 1996: "Affective Computing."

The key is that everyone must work smarter to keep jobs.

Working harder and smarter is the forecast, but the whole genre of these books emphasizes how new technology will give everyone freedom. However, freedom means control, and control is achieved by customizing everything to our interests, values, personality, and needs. And now, more than a decade later, technology does have gadgets such as Google Glass and other devices including those from biotechnology. You may wish to see, March, 1996: "Pluralistic, Not Imperialistic."

A decade ago, Bill Gates focused on how people are shaped by forces and information filters. Several years ago, Gates saw a fire hose of data delousing us down. Gates also saw consumer preference as king. For the writer, in all this forecast, now that we are looking back a decade, today, the bestselling escape fiction still appears to be letting us choose our own destinies. You may wish to check out the article, November, 1995: "Being Decimal."

Writing fiction compared to write a tech brochure

Just like writing a facts-only a tech brochure or instructional manual simple enough to understand by beginners and follow step-by-step, fiction content needs to shape the desires of people seeking easy-to-read/easy to understand messages and content. So to write your best-seller, emphasize how the convergence technologies shape the consciousness of the masses.

How will technology and art meet, let alone join forces? How does technology change consciousness? And all this would sell if the stories kept the plot simple, values universal, and characters committed to their causes or goals. The best selling books connect people with something valued by most across cultures and time, such as keeping the family together and putting food on the table or acts of kindness.

Do people want the writer to write stories about what’s good for society or what makes individuals richer—or both simultaneously?

Best-sellers connect between the behavior of the audience and the properties of technology. Web links connect the entire entertainment industry online with a global audience of aspiring writers. More writers will clamor for careers that join technology with entertainment.

Your audience becomes your script’s rejection letter, or it’s best-seller buyer. Today writing is more about connections. Writers may not realize how interconnected technologies are with our emotions. We create behavioral chain reactions to our content.

While journalists learn Java rather than drink it or travel to the island of Java, outsourced journalists around the world put up web pages for online news bureaus, and fiction writers market screenplays and interactive stories to online broadcasting networks.

Every writer knows one innovation leads to another, and content has you. Where do you want to be on the distribution chain of information technology in your fiction writing or entertainment investment online? Regarding creative people in the arts whose interests converge with cutting edge technology such as Internet desktop and other new media fiction writers, animators, publishers, producers, and designers, the first question you might ask is what skills are difficult to find when it comes to writers?

You can be a writer or a stand-up storyteller. The result for both is to write or say what people will remember for a lifetime. That's how best-sellers are created for their power to stay in people's minds for a long time.

Creativity improves when collections become attention-holding puzzles to solve

It’s the fiction writer with the skills of a computer programmer, animation specialist, or video producer with funding or crowdsourcing who also knows how to synchronize audio and video for Internet broadcast, put up a Web page, design animation to fit their script, and apply writing to reach into a market targeted to in-office use of desktop compact computer video, complete with editing skills. Good luck finding that in one writer, unless you're working in the technology areas of cities.

Fiction writers sometimes need the skills to be able to synchronize the new media with broadcasting. They are reinventing radio with virtual theater in video podcasting, designing dialog, sets, avatars, and story content to entertain or train, as health therapy to desensitize, or to merge innerspace imaging with mind mapping, games with LAN management, and new uses virtual reality. Writers can re-invent radio, video, and even 3-D virtual reality in new ways online. Are you writing simple enough for micro-fiction or the era of outsourced specialty journalism?

Simplicity, universal values, and commitment sell big time in works of creative writing, fiction or nonfiction. You write stories that stick in the minds of readers. The values about which you write can make or break your career as a content writer and storyteller.

It all depends on whether you have enough followers who can buy your content over a long span. Will your content stand the test of time? The subject can change as fast as audience’s preferences, but their values remain constant: Simple solutions that work, universal values we share, and commitment to what's valued most in people's lives.

Doing the right thing may make a best seller if enough people do the same thing and choose to reinforce their nourishment and pleasure from your subjective fantasy in cyberspace. Is it real enough so people can identify with the character? If the audience can put themselves in the role of your hero or live your storyline, they will return for more.

What do you need to learn in creative nonfiction writing?

“Narrative arc” is a four-syllable way of saying that every story needs to have a beginning, middle, and end. Whether you’re writing fiction or nonfiction, you need an act one, act two, act three. Your creative nonfiction piece needs an opening, a place in the middle where it won't sag or slow, and a finish.

Every story has a beginning, middle, and end, if it's labeled a story, novel, script, or play. Even a monologue needs a start, a middle that uplifts the audience and holds their attention, and a finish that makes an impact or solves a problem so that people remember your conclusion.

First you find your story. Then you write beginnings by showing instead of telling or describing. You leap into a narrative arc. See, "Narrative Arc - What is Narrative Arc in Literature?" Every story has three narrative arcs. Check out, "The Three Narrative Arcs by William Kenower." Or see, "How to Create a Narrative Arc for Personal Essays | WritersDigest.com."

So you want to write a page-turner which also is a cliffhanger? You start by building dramatic sentences for emotional impact. You put it together, reveal character in words and actions. Readers sometimes like actions more than words as in theatrical effects. But you first need to create compelling characters. That means a study of character psychology. You design and outline your plot and story structures. Then you let the characters move the plot forward quickly without sagging slow in the middle of your story, novel, or script.

Next you vary your narrator's perspective and use tag lines for emotions or body language and gestures

Then you prepare your characters or words to perform using active verbs instead of lots of adjectives and adverbs. You shape your writer's voice. You sharpen your dialogue technique. Then you revise and edit your work. You build your audience and niche market appeal. You get published or publish your own works. And you're a writer. What gives you ideas about writing about universal values, using simplicity, and sticking with commitment as your characters transcend past choices and go with their commitment to universal values? You flesh out proverbs in new ways.

Proverbs, song lyrics, values, and real lives of women and men or even children struggling to put bread on the table for their families made best sellers in the past. Values that last have lasted since Paleolithic times. Even Neanderthal man buried his family with daisies. Some things don’t change with technology, and technology reinforces values that don’t change. To write a best seller, shape the values of your audience in your manuscript.

Are your principles good for your career?

Online critiques often say that a best seller has integrity.What set of ethics is in your script that shows honesty wins? How strict is structure in the lives of your audience? Intuitives and visionaries may need less structure than sensors who pattern their success on the success of giants of the past who have been profitable over long periods. Are your values hindering your story or moving it forward? Best sellers don't demand that the audience accept your values. Never give your audience a strict set of rules and insist they adopt your values.

It won’t sell to audiences outside of your niche. For the mass market and more profit, define your values before you write. Then define the values of your audience by letting them speak for themselves and define their own values. That’s how you do your market research before you write fiction.

Rank the values of your audience before you rank them in the same way in your story plot,Web channel script, novel, or story. It works the same in all types of fiction—rank values in the order of how your audience uses them to solve problems.

With which values can’t your audience live? Do the same for yourself as a writer. When you have a list of the values you can’t live without lined up next to a list of the values that your readers/viewers/audience can’t live without, compare them. Do they align? Do you have a match? If so, take a third list of the values with which you’re producers can’t live without. Is there a match between you and your investors, producers, or employers? If you have to eliminate, the audience comes first. That’s who will pay.

Writing for a three-way match regarding the values in your story, piece, or script: Ranking the values in your work

Rank the values in your story or nonfiction piece. You want to aim for a three-way match. What value comes first in your ranking? Is it integrity, honesty, creativity, artistic expression, earnings, ratings, number of books sold, web acceptance, virtue? Pick and rank your values in the order of importance to you, your audience, and your employer. Now rank the values of the characters in your story. Is it a four-way match now? That’s even better. What your audience wants is matched now to the values of the characters, avatars, and heroes in your story or script.

Does the audience’s values match those of the character’s in your story? Pick a proverb about your values—integrity, honesty, and commitment. and expand it into a story, script, game goal, or novel. Make it interactive. Put it online on the web. Ranking values helps you organize your story so that it focuses on being profitable, commercial, moves towards being a best-seller, appeals to a mass or niche audience, and supplies ranked values of characters matched with audience.

The audience comes first

Sometimes it’s necessary to reach the hidden values in your audience and nourish them with feelings of omnipotence to get them to return to the good feelings and pay for your content. How do you get money out of a tycoon with values? Through content.What values can you live without? Conversation? Open versus closed communication? Extroversion? Introversion? Intuition? Imagination? What’s your value’s rank? Can introversion—the power of solitude—be a value like integrity or honesty? Define your values first before ranking them in importance.What makes a value a value?

What can your work of writing live without? For me, Creativity, Honesty, Integrity, Kindness, Politeness—are values. How I rank them will differ from other people’s ranking. Which ones can I live without? Probably a constant stream of extroversion and conversation. Can’t live without? Creativity, honesty, integrity, clean air, and being around green plants and trees, a body of water, art to gaze at, teddy bears, and hugs. Best sellers depend on how much your audience will compromise in the ranking of their values.

Check out the simplicity and values in your writing. Ranking values and commitment first can creates best sellers. Every novel, story, or script compromises in value when it goes up online or in print. It will require less compromising in the future. The entertainment industry has invested billions this year alone in streaming entertainment fiction or news online in new ways.

Matching and ranking your values to your audience’s is the first step to writing and producing a best-seller online

It’s the right hemisphere of the brain that fiction appeals to, and the benefits to writing for the “right brain” hemisphere are profitable. All emotions need nourishment. Your online experience with providing content helps you know your own right or left brain hemisphere preference. Writing fiction can emphasize either—the left brain logic of science and technology fiction combined with the emotion of time travel romances, searching for immortality in virtual reality fractals that heal fears, or bringing the Internet to a new era of entertainment workspaces.

Sum up your story in one sentence as your pitch. Every story needs a chant, an ideology like fiber optimism in the morning chanted to a collection of fables based on traditional values such as kindness, respect, and friendship. Fiction, like nonfiction creative writing is read often to make the heart sing. Look at collections of fables based on traditional values such and kindness, inspired by international tales from around the world. Check out sites such as "Fables | Mara Wood " and "What Makes Your Heart Sing? | Awakening the Power of Inspiration." Or see, "Steve Jobs: What Makes Your Heart Sing? - Forbes." You can check out the site, "What Makes Your Heart Sing? | Facebook."

What works in a best seller?

For writers who want to create best sellers, smaller is better, even though there are plenty of best-selling fiction with a lot of pages to turn. On a Kindle or other e-reader, the page number isn't heavier. It just takes longer to finish. And it all depends upon the novel not slowing down in the middle. Then there's always that first-time novelist who writes very thick books and keeps on selling that way with a reputation for books that take up a lot of pages. It's about reputation and for what style, story, and page number the writer is known.

For those who want to start out with a shorter novel, unveil a smaller way to tell your story, a lighter way. Your content can grow smaller and be written as if it's going to be read in a smaller mobile device. Compression is in. You may be interested to check out, September, 1996: "The Future of Phone Companies."

The question is whether publishing content parallels the holster mentality. Tuck cybersoaps into a pocket. Write the content for mobility. Write for hours of continuous talking with smaller chips, smart buttons, no hands use of technology, headsets, and entertainment that focuses on enjoying the entertainment, hands-free, while doing other things on your computer or offline.

A decade ago, you had technology delivering the age when pistol-shaped remote control devices, such as the TV Terminator, made by TVT Inc., Canada, which allowed users to register how they felt about what content is on screen by shooting a pistol that made the sound of gunshots, a booing crowd, a cheering audience, or machine gun fire. Back then you pulled a trigger to change channels, or have the choice of pressing the button. It’s this kind of audience that makes or breaks the writers future.

Are most media on today's free public TV stations helping or wasting your relaxation time?

Content now has it’s own pistol to shoot you down on screen. You are writing for this kind of audience where such remote controls worked on any type of TV, VCR, or cable box. Now, years later, you have the social media to review what you've read as well as the websites of those who distribute/sell books.

Can you imagine how ten or fifteen years ago shooting at the screen programs the unconscious of those watching political debates, what the potential could be for conditioning the unconscious? Think about the consequences. Shooting the tube does something to the shooter. It touches the emotions in a hands-on way. As a content writer, what value does this evoke in you? How would you rank it? How would your audience rank it? How would your producer or publisher rank content? Nowadays, there are the reviews.

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