Think of the right keywords as the Open Sesame! You should be in a position to think like your visitors. The consumer can be an invaluable resource. Popularity isn’t enough to declare a keyword a good choice. Let’s take a look at a hypothetical example. The third factor is consumer motivation. IT manager in a fresh city. The second one, of course! Once you’ve chosen your keywords, your projects are not done.
Keep at heart, that, as water goes toward the Atlantic, the aggregate pollution increases – Erie has what it produces, plus some residual from the other lakes to the west. And, the Cuyahoga River a long time after the open fire. Unless all the Marquee people die in the final scene – Hamlet, anyone? Life on goes; people continue steadily to age, hopefully grow, and probably have other interesting things happen to them before they die. But a story is supposed to feel finished – i.e., that it ends conclusively, such that at least some major aspect of the characters’ lives has been settled for good.
How is that to be done, especially if the writer knows that that’s not the case? As simple as it looks, this is really one of the unsolved classical problems of the auctioneer. It’s one of the reasons I find writing these things so hard. Recently I posted a plaint about my inability to find fresh reading material that isn’t a component in a never-ending series.
It was heartfelt, but it will be proceeded to go against the current pattern. Nowadays everyone writes a never-ending series. The creator’s wish to tie the thing off can be thwarted by his publisher – or by his readers. It just happened to Sir Arthur Conan Doyle. Indeed, it can happen to anyone. Partly, the unbounded series is motivated by its creator’s desire to economize by using one of the most arduous of the auctioneer’s tasks: the creation of the attractive, plausible hero. Once you’ve concocted such a personality, it can appear a pity to “waste” him. Moreover, such a character becomes your readers’ focus. Those that delighted to your first opus about him will need him to return for further activities.
But there are other causes involved as well. What will the hero do following the tale has ended? Maybe he’s the type that simply must have further adventures. In such a case, his creator’s hands are tied; his story must continue. But maybe he settles down to “Standard Life:” relationship, suburban home, 2.4 kids, et cetera.
While books have been cast in such configurations, the skills are taken by it of a Judith Guest to make them well worth reading. Just how does the writer convey to his readers the sense that “here are some would be too boring to learn about, much less to write about” — ? It really is an unsolved problem really, Gentle Reader. And it keeps returning to haunt me.
A personality with enough charm to power a book can be awfully hard to “put down,” fictionally at least. One contributing factor is the well-known phenomenon of Main Character Immunity. It afflicts more authors than not. Sometimes it compels an author to say, in the place: “Aha! You thought he was lifeless, but I used to be only joshing!
” That’s what occurred with Sherlock Holmes after Conan Doyle’s first try to put an end to him. I can’t appear to eliminate one of my heroes deceased enough. The tiny bastard has too much appeal just. He keeps coming back, largely through my exploitation of open areas in his timeline into which I can insert more involvements.
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- 214 days * (1 yr/365.25 days) = 0.5859 years
But at least that timeline is bounded by his quite definite demise, written into the novel where I first employed him unambiguously. At some point – hopefully I’ve reached it already – he’ll stop popping into my narratives. Lee Child’s Jack Reacher is similar to that. You could hit him with a nuclear-armed sail missile and he’d just flung it back again at you.
John Conroe is creating a similar problem along with his individual’s Christian Gordon and Tatiana Demidova, the central stars of his “Demon Accords” series. There is something to be said and only the seemingly immortal hero, though. If he’s really that a lot more attractive than typical, the writer can please both his visitors and his broker with an endless parade of tales about him, at the price tag on a single spate of character structure, at that.