How to Find Your Perfect and Profitable Niche as a Writer (Video)

Have you figured out your niche? If you want to be a freelance writer, one of the first things you need to have is a niche! This is the writing topic you will get paid for. But, what if you enjoy or know a lot about many topics? Can you not land clients in different niches? Some people feel that if you market yourself as a jack of all trades, youll land more work. But, thats just not right. Ive been helping struggling writers become profitable writers. Check out this video and I would LOVE it if you subscribed to my YouTube channel! Here are the videos Ive done so far: 4 Skills Profitable Freelance Writers Possess How to be More Efficient as a New Freelance Writer 4 Ways to Perfect Your Pitching Game (As a Freelance Writer) If you are struggling to find that perfect niche for you, check out my video! Recap: To find  your perfect and profitable niche: Look towards your past experiences and passions Validate your niche Create samples in your niche Learn and understand your niche as the expert of that topic Make sure to grab my free guide on how to Accelerate Your Freelance Writing Income in 7 Easy Steps! There ya go! Please let me know what your niche is and how you decided on choosing that niche!

Critical Analysis of the Modernist movement and Architecture of The Royal Festival Hall The WritePass Journal

Critical Analysis of the Modernist movement and Architecture of The Royal Festival Hall Introduction Critical Analysis of the Modernist movement and Architecture of The Royal Festival Hall IntroductionBibliography:Related Introduction The following essay will discuss the modernist movement and architecture of The Royal Festival Hall in Britain. It will demonstrate several different elements of modern design combined with the fabulous music, art and drama that unified the people of Britain, post war. It will also incorporate the underlying relationship between man and building and how together they contributed to the nation building of Britain. The Royal Festival Hall is a fine example of the technology and detailing of the period of modernism. Located in Southbank Centre the building was designed and constructed in 1951 by architects, Leslie Martin, Robert Matthew and Peter Moro to commemorate a century of the Great Exhibition and as a part of the Festival of London. The hall was built in just less than three years with the assistance of several young architects and designers who were inspired by Le Corbusier and Mies van der Roche and their fast pace sketching of modernist glass and steel pavilions.   With the knowledge and skills from some of the best known architects of that time and the influence of modernity, The Royal Festival Hall was completed, â€Å"inside within an outside† into a â€Å"shape within a shape†, the exterior and the interior were no longer separate, it was one unified formation, a true monument of modernism. The Royal Festival Hall was not only known for its modernist architecture but for its unique abstract and modern exterior. The structure of the hall consisted of five levels, the ground lower entrance level, main foyer, upper entrance level, balcony level, mid stalls level and front stalls level. All together comprising of cafe’s and bars, restaurants, shop, book store, balcony, terrace, stage, auditorium, practice room, organ, change rooms, promenade and library. The building is a classic modern structure that is simply held in by glass, a display whose immateriality is encouraged by all kind of design plans, like the way the auditorium form is lit at night-time, or by the insertion of flower boxes on both sides of the glass. Towards the inside, internal vistas transform every progress, giving a sense of graceful space and openness, an appearance of expectancy to embrace the nation. The exterior of the original Auditorium in 1951 Miles Glendinning describes The Royal Festival Hall in a piece of her as â€Å"a little unusual in that it was the focus almost exclusively of praise even during the 1980s nadir of the reputation of the Modernism. In fact, the history of its reception is essentially one of the successive attempts to appropriate its consensual prestige. That prestige stemmed, at the most general level, not from its architecture but from its role as a ‘soft’ nationalistic symbol of post-war revival, as the centre piece of the Festival, and as ‘Britain’s first post-war non-austerity and non-essential building.† â€Å"The times predicted that ‘the hall can serve the highest spiritual purposes of music in our national life.’† During the years of 2005 and 2007 The Royal Festival Hall underwent major renovations; however the overall style and structure of the hall remained the same. Jonathan Glancey an editor from The Guardian newspaper United Kingdom explains how although  £111 million was spent on the refurbishment of hall the initial concept of modernism will be not be altered, the building will just be restored to its original fashion keeping the ambience of the previous years of celebration, history and the culture alive in such an important British icon. Glancey quotes â€Å"Dont come here expecting the RFH to have been transformed into some whizzy, hippity-hoppity iconic architectural experience for the readily bored. No. The building has been brought back to life in a way wholly recognisable to those who first came to listen to concerts here when Clement Attlee was prime minister and ration books were still in belt-tightening force. Equally, the RFH looks wonderfully fresh and new. It is one of t hose buildings, from an era when most British architecture was too tweedy and austere for   comfort, visual or otherwise, that still seems generous, welcoming, blithe and, in part, opulent.† (Glancey, 2007) Natasha Goodfellow a writer for Home and Antiques made a statement in her article regarding The Royal Festival Hall â€Å"The hall they built used modernism’s favourite material, reinforced concrete, alongside more luxurious elements including beautiful woods and Derbyshire fossilised limestone. It keenly espoused the tenets of modern architecture and encapsulated a sense of both democracy and an incredible openness and generosity. There were no separate bars for different classes of visitor, no bad seats in the auditorium, and the large foyers – a revelation compared to the cramped lobbies of traditional West End theatres of the time – were pierced by white columns holding the huge 3,000 seat auditorium above them.† (www.homeandantiques.com)The above statements clearly articulate how magnificent this building is, not only by its structural form. This photo was taken from the Waterloo Bridge, post renovations in 2007 The Royal Festival Hall was built for the people of London, the bars and restaurants the hall were intended for everyone. Its contemporary design and choice of location smartly designed in a democratic space served all types of guests and offered â€Å"the broadest programme of arts and events possible†, from opera, classical music, films, dance and dramatic theatre drawing the people of Britain to attend spectacular events. During the months of May and September in 1951 over eight million people visited Southbank to attend the festival. (Mullins 2007)   An open Foyer programme was launched in 1983 allowing day time access to the hall at all times during the day rather than only being open an hour prior to a concert taking place. This encouraged the public to drop in for a bite to eat or a refreshing drink at any time during the day and enjoy the ambience, views and atmosphere, The Royal Festival Hall had to offer. The following is a statement made by Tony Blair, which appeared in the Gabion, by Hugh Pearmon, titled, The Royal Festival Hall, London: historic modernism reinvented. â€Å"If youre British, the Royal Festival Hall is a part of your life. Everybody knows of it. If you live in or visit the capital, chances are youve arranged to meet friends there, in the odd and seemingly permanently-changing assortment of cafes and restaurants and bars that has inhabited it down the years. So did your parents and grandparents. You might even have made it into the period-piece auditorium for any one of an astonishing variety of performances ranging from symphony orchestras and dance groups to the world premiere of Brian Wilsons psychedelic masterpiece Smile. And who can forget the sight of Deputy Prime Minister John Prescott not-quite-dancing to Things Can Only Get Better.† (www.hughpearman.com) Early in the piece there were several complaints regarding the acoustics from the orchestra. Publisher Victor Gollancz, an passionate concert attendee, remembers his first visit in 1951: â€Å"The place seemed horribly raw; there was no atmosphere, no smell (literally as well as metaphorically) about it†(Mullins, 2007) Regardless of these initial problems with the acoustics many thought the Royal Festival Hall was the best concert hall in the world, hosting several truly memorable nights.  Ã‚   As quoted by Bernard Levin in the Times 1976, â€Å"We have both aged, the Royal Festival Hall and I. But I remember, and I shall remember no matter how many more quarter centuries of the halls existence I survive, the first overwhelming shock of breathless delight and the originality and beauty of the interior.. (it felt that) we had been instantly been reported far into the future and that we were on another planet all together I do not exaggerate; I vividly remember talking to an attendant on a visit a week or two after my first, and being told at the end of every concert the ushers were assembled at the top of the building and that they then, linking hands, move slowly down from concourse to concourse, gently shepherding from the precincts audiences that otherwise simply could not bring themselves to leave, so affecting was the experience of being in diesen heil’gen Hallen.† (McKean, 2001) Novelist Ali Smith recalls her memories of The Royal Festival Hall, â€Å"One of my most vivid memories of the Royal Festival Hall is of being part of a crowd nearly taking its ceiling off with the cheering and clapping – at a silent film. It was the hugely celebratory second showing of Abel Gance’s brilliant Napolean, with Sir Carl Davis conducting his own fine score. Near the end the screen splits into a triptych of different images, each tinted a different colour, to make the tricolor, the orchestra played the Marseillaise, and something strange and revolutionary swept through the London audience, which stood up and yelled with excitement at the orchestra and the screen. I have seen several of the Royal Festivals Hall’s silent film events, with Davis conducting, including a screening of Charlie Chaplin’s The Circus, which as soon as it’s on a big screen accompanied by its full score, can be seen for the masterpiece it is. Just a couple of reason s why the Royal Festival Hall is a pretty special and versatile space.† (Mullins, 2007) Rachel Curtis explains her fond memories of The Royal Festival Hall, â€Å"My husband always admired the architecture of the Southbank especially the Royal Festival Hall. He remained interested in the renovations of Southbank centre despite living in Southampton. When we visited London we would always go to the Royal Festival Hall to relax, eat, enjoy the music and admire the magnificent landscape of London. When he was diagnosed with cancer at the age of 37 we were devastated, but he always maintained his enjoyment of architecture and music. When he died in 2004, I decided a fitting memorial would be to purchase a seat in his memory. He will now be able to hear as much music as he likes in the splendid surroundings of the Royal Festival Hall. I visit when I can and remember with fondness our special and happy times spent on the south bank.†(Mullins, 2007) The Royal Festival Hall known not only for its unique modern architecture but for its inviting casual atmosphere, welcoming people from all ages, religions, cultures. Here the citizens of Britain could come together and find similarities and – more importantly – differences, that they could celebrate through their art forms. Adrian Forty describes The Royal Festival Hall as a mutual exchange of seeing, It is not subjugated to some other purpose of the building owner – such as (in a shopping mall) to consume, or (in a station concourse) to travel; is it different from those places where, therefore, we see others and seen by them as less complete. At the Festival Hall, as stated by Forty, â€Å"the owner of the building is none other than the subject. Whoever you are, once you enter through the original main entrance at ground level, and stand with the space unfolding in front of you, beside you and above you the volume is yours and only yours alone. Of course exa ctly the same experience occurs for everyone who enters the building, and so the result is the sense of an equal right to the possession of the building, and in absence of any commanding authority.† (Mullins, 2007) It has been made evident that the construction of The Royal Festival hall has contributed to the rebuilding of the nation’s spirit, through not only its modern architecture, but the inviting atmosphere and availability of arts, music and dance it offers to the people of Britain. Bibliography: GLENDINNING, MILES.  Teamwork or Masterwork? The Design and Reception of the Royal Festival HALL MCKEAN, JOHN. Royal Festival Hall: London County Council, Leslie Martin and Peter Moro London: Phaidon, 2001 MULLINS, CHARLOTTE.   A Festival on the River London: Penguin Ltd, 2007. GLANCEY, JONOTHAN. Pomp and Circumstance. guardian.co.uk/artanddesign/2007/may/30/architecture. May 11 2011. guardian.co.uk/artanddesign/2007/may/30/architecture GOODFELLOW, NATASHA. Royal Festival Hall: A Building to Lift the Spirits. May 11 2011. homesandantiques.com /feature/royal-festival-hall-building-lift-spirits

Facilities and Events Operations Management Term Paper

Facilities and Events Operations Management - Term Paper Example This function is also responsible for the fulfilment of the requests of the customers through creation and delivery of the required facilities and events. Depending on the manner in which an organization is structured, the precise nature of tasks, which are classified under the operations function, can be different from one business to another; nevertheless, some activities can be applied to all the forms of operations. These include: Understanding strategic goals, which involves the managers in charge of operations precisely understanding the objectives of the company and developing clear visions of the ways in which operations will assist in achieving them. It also entails the translation of these objectives into implications for how operations perform, goals, quality, speed as well as reliability, flexibility and costs. Development of an operations strategy, where as a result of the numerous number of decisions made as far as operations is concerned, it is important that the people responsible have a set of regulations that assist in aligning these decisions with the long term objectives of the company. All companies can be widely divided into two main categories, which are manufacturing and service companies. Regardless of the fact that both categories have operations management functions, these differences create unique challenges for operations as the characteristics of the products differ. Two key distinctions exist between the operations of companies that deal in products and those that concentrate on services. To begin with, organizations that deal with products produce physical and tangible products, which may be stored in inventory prior to it being required by the consumer. In contrast, companies that deal with services produce products that are not tangible and cannot be produced before the customers need them. Further, the companies that deal with tangible products, the consumers usually do not have a direct contact with the production

Reformers Essay Example | Topics and Well Written Essays - 500 words

Reformers - Essay Example ed as this groups perception of government leadership as corrupt and without a reasonable desire to build a system of justice that best served the American people. Those reformers who took active stands against corrupt leadership were largely from the middle class, though there were others of higher economic influence who also believed that 19th Century America deserved a better system of leadership at the capital. Most noticeable in the reformer movement was the acknowledgement that women should be considered as sentient, godly people and should thus be given the right to vote and extended certain freedoms. This movement was later referred to as the womens suffrage movement (LaPlante, 1999). The suffrage movement involved standing up for the rights of women and extending many of the same opportunities that the men of that age experienced. Along with the womens issues, the abolition of slavery was also a hotly debated topic at this time, especially with pressures from the southern states being imposed to expand and maintain slave presence in this region of the country. Citing religious doctrines, many of the social reformers who were wholly against slavery began to speak out about its atrocities from the eyes of the Christian god (LaPlante). Combining both of these strong reformer belief systems was Sojourner Truth, who had been born into slavery during the first half of the 19th Century, and through perseverance, became one of the foremost women leaders both in relation to womens suffrage and the abolition of slavery. During her long voyage toward improving the rights of women and slaves, Truth managed to bring about social awareness of the issues facing women of that time, while also raising money to help black soldiers who were fighting in the Civil War (Daintycrew.com, 2001). Sojourner Truth maintained some rather obtuse religious beliefs as well, befriending a religious sect similar to that of the Quakers, where communication with living spirits was a

Personal Helicon Seamus Heaneys Analysis

Personal Helicon Seamus Heaneys Analysis Springing Forth: An Analysis of Seamus Heaneys Poem Personal Helicon Seamus Heaneys title choice for his poem Personal Helicon is rooted in ancient Greek mythology. Helicon is the name of a mountain in Greece. In Greek mythology, two springs sacred to the Muses were located here: the Aganippe and the Hippocrene.(Mount) The muses are goddesses of inspiration and the source of knowledge. Mt. Helicon is also where the fable of Narcissus takes place. Where Narcissus falls so in love with himself, and becomes so despondent when he realizes that he cannot have the object of his own desire, he takes his own life at the side of a spring. Narcissus and the other elements ascribed to Mt. Helicon are heavily used in his poem to help the reader grasp the meanings behind the quatrains. While reading it is important to remember the fables of Mt. Helicon, that the springs on the mountain were the source of inspiration itself. Thus the title of the poem must be specifically drawing parallels between the mountains springs and his sources of inspiration while a child. Unlike the unchanging mountain, Heaneys inspiration undergoes a paradigm shift has as he grows older. One of the voices in this poem goes over the progression of this change, and tells the story about his inspirations. Personal Helicon is dedicated to another poet, a contemporary of Seamus, Michael Longley from Belfast. It is unclear if Michael is the inspiration for the creation of this poem, but the two had worked together for some time during their careers. Before Seamus career, he was given birth to, and grew up on a farm in Northern Ireland. If the poem is taken literally, one can assume a good number of springs were present around his familys farm. As such it comes as no surprise that they are a strong reoccurring theme of his childhood, and poem. The poem is five quatrains based around 10 syllables in a 1,2,1,2 and 3,4,3,4 rhyming scheme. There are also a number of assonant effects: [ÊŒ] pumps/ buckets; fungus/ bucket plummeted [É’] drop/ moss; hovered/ bottom [Éâ„ ¢ÃƒÅ Ã…  ] rope/ so/ no;   [É ª]in/ brickyard/ rich; big-eyed Narcissus/ inyo/ spring/ is/ dignity; [u]   new/ music; [eÉâ„ ¢] scaresome/ there; [ai] rhyme/ myself;(Fawbert) and interweaves: [É ª] [ÃÆ' ¦]: dry ditch fructified like/ aquarium; same combination of sounds [É ª] [ÃÆ' ¦] creates a chiasmic effect: pry into/ finger slime;(Fawbert) In this poem, he with such elegance explains the world to himself, and himself to the reader. It is no wonder he is considered one of the greatest living poets. Likely he was compelled by others as much as himself to revisit his journey of becoming poet. And of course this can only be done through poem. Using wells and springs as a way of personal reflection and understanding of the natural world, Seamus begins the reader at his childhood. Seamus uses simplistic language and grotesque imagery to bring forth from the reader a sense of childhood. He is filled with curiosity and naivety. In the first line it becomes established that wells are a source fascination for him. Wells conveniently are a symbol of life. Here is found the effective beginning of his, this new passion for what he lives for. These strange doorways to underground worlds held untold mysteries which were irresistible to the young child. As so were the devices that brought forth the mysteries from the depths of these worlds. The old pumps with buckets and windlasses divinely attached devices that could cross the veil between worlds, may as well have been huge light up neon signs. Sirens whos beckoning call could not be resisted. It is amazing he survived childhood. Little Seamus couldnt help himself though, he loved the dark drop, the trapped sky, the smells of waterweed, fungus and dank moss. Not just full of synthesia, this bit is only synthesia. It pulls anyone who has ever been outside right back there. It invites the reader to experience the smells not of decay, but of the beginning of life. It asks the reader to peer into the darkness and the unknown. In this still primordial setting, the image of a young child staring into the darkness comes easily. He stares into the unknown and wonders how it got there, begging the reader to come explore with him. What are the origins of this life here in the well? How can the sky, something so big, get a bit of itself trapped in the well? And what other wonders lay hidden in the darkness? Let us turn the windlasses, and pull up the bucket. The empirical evidence brought forth will illuminate us all, but answers will only be had after repeated results. Seamus brings us to another well, and another stage of his life. Here he is older and wiser. Danger is starting to become apparent to him. In this well he brings us to, he explicitly notes that there is a rotted board top. The thirst for knowledge appears slated now. Here novelty and entertainment is the main draw. Not much to do on a farm, he spends time savoring the rich crash when a bucket Plummeted down at the end of a rope. The well here is so deep you saw no reflection in it. Probably because it is full of allegories, and not water. The well is deep, but like all things it may be a symbol for, be it life, inspiration, or knowledge, there is an end. There is a bottom to everything, and Seamus is starting to get near to the end. However there is still darkness, and in the darkness there are yet things for him to learn. And from the description of the bucket, the hard sounds, the violent action, these things will be learned the hard way. Onto another well, and another stage of life. Heaneys third quatrain brings us to a shallow one under a dry stone. This well, though drying up is still teaming with life. If the depth of the well is taken his level ignorance about the world around him, then at this point there is not much left. He describes himself as dragging out long roots from the soft mulch, where he discovers a white face hovered over the bottom. This transitions him from learning about the world, to learning about himself. He no longer peers into the darkness or back up into the sky, the world is no longer reflected, and his time for introspection begins. Roots are frequently a symbol of family and traditions. Here before he can look at himself, he must clear them away. His doing so can be considered an act of removing societal customs and traditions. To be able to see who he is, to let the person underneath come out and play, to experiment in being. Described in playful ways, Seamus talks about his self-exploration and experimentations in being by describing his activities with even more wells. Using echoes he calls into the wells to listening to the mutations. This is a direct parallel for his imagination. Playing out what if scenarios in his mind to see how the changes play out. At least until he received a fright. When while peering deep into his reflection one day, a rat slapped across my[his] reflection and scared him. It distorted his image into something disfigured and horrible. As Nietzsche once said when you gaze long into an abyss the abyss also gazes into you.(Nietzsche, 146) Assuming his gazing into his reflection is him taking an introspective look at things, then the rat is just a convenient device used to explain how he found something inside himself that was disturbing. As is often the case, ones conceptualization of themselves is not what one truly is. When the difference is great, or goes against ones own moral or social values it can be frightening. This time, it seems to have been so freighting as to put him off of it altogether. No longer does he stare into wells. Seamus looks down upon exploring the wonders of the world. pry[ing] into the roots, to finger slime is unfitting the man he has become. He considers looking into himself directly narcissistic. Having grown into an adult other matters have taken precedence. His childhood activities are now beneath all adult dignity, and he must find alternatives. Summed up in the last, and arguably his best line we find salvation. I rhyme to see myself, to set the darkness echoing. The echo in the darkness much like the echo in the wells, we find the act of poetry has taken the place of gazing into wells. And we find him once again being able to live.

Reflective Essay Founded Online, Not Mine Essay

The purpose of writing a reflective essay is to present what you felt and what you reflect after an experience. Readers will discover how you associate with the subject on which you are writing. Your reflective essay can provide your perspective and the lesson you learned from a given experience. A reflective essay must provide a personal perspective, inform of the purpose for creating, and indulge in personal thoughts as well as feelings. A reflective essay must present a purpose or a lesson to be learned from the story. You personalise the creation of a reflective essay by mentioning your role in the event or occurrence. A reflective essay will always provide for varying perceptions by studying the different point of views and aspects (mentioning if a certain decision had gone in another direction) and how you evaluate the experience as a whole. You must feel that the experience or occurrence is worthy of developing a reflective essay on. You must remember each detail and every facet of the story for the exploration of each description. You must mention the significance and the feelings that you have regarding the experience on which you write your reflective essay.

Creative writing in non-fiction Essay

Creative nonfiction (also known as literary or narrative nonfiction) is that branch of writing which employs literary Styles, techniques and artistic vision usually associated with fiction or poetry to create factually accurate narratives on actual persons and events. Creative nonfiction contrasts with other nonfiction, such as technical writing or journalism, which is also rooted in accurate fact, but is not primarily written in service to its craft. It is a hybrid of literature and non-fiction because it comprises of Non-fiction elements and Literary elements which are essay form, story/narration, explanation/exposition, place/scene/setting, standard rhetorical patterns, characterization, focuses on ideas, facts (not only language),author personally engaged, researched facts, literary voice/feel, artistic, instinctual, polished language. The primary goal of the creative nonfiction writer is to communicate information, just like a reporter, but to shape it in a way that reads like fiction. As a genre, creative nonfiction is still relatively young, and is only beginning to be scrutinized with the same critical analysis given to fiction and poetry. Though only recently identified and taught as a distinct and separate literary genre, the roots of creative nonfiction run deeply into literary tradition and history though has been in use as earlier as 1970s but was originally made official in the year 1983 in the United States of America at a meeting convened by the National Endowment for the Arts to deal with the question of what, exactly, to call the genre as a category for the NEA’s creative writing fellowships. The NEA long recognized the art of nonfiction but has been trying to find a way to describe the category so writers would understand what kind of work to submit for consideration. â€Å"Essay† is the term used to describe this â€Å"artful† nonfiction, but it didn’t really capture the essence of the genre for the NEA or lots of other folks experimenting in the field. Technically, scholars, critics, and academics of all sorts, as well as newspaper op-ed reporters, were writing â€Å"essays,† although that was not the kind of work the It had in mind. â€Å"Journalism† didn’t fit the category, either, although the anchoring element of the best creative nonfiction requires an aspect of reportage. For a while the It experimented with â€Å"belles-lettres,† a misunderstood term that favors style over substance and did not capture the personal essence and foundation of the literature they were seeking. Eventually one of the NEA members in the meeting that day pointed out that a rebel in his English department was campaigning for the term â€Å"creative nonfiction. † That rebel was Professor Lee Gutkind. Forms within this genre are personal essays, memoir, travel writing, food writing, biography, literary journalism, and other hybridized essays. Personal essay is often a free-wheeling device of self-expression. If you ever want to experiment with prose and with loosened structure, this is where you can do it. A memoir is a piece of autobiographical writing, usually shorter in nature than a comprehensive autobiography. The memoir, especially as it is being used in publishing today, often tries to capture certain highlights or meaningful moments in one’s past, often including a contemplation of the meaning of that event at the time of the writing of the memoir. The memoir may be more emotional and concerned with capturing particular scenes, or a series of events, rather than documenting every fact of a person’s life (Zuwiyya, N. 2000). Literary journalism refers to the use of fictional techniques in writing a work of nonfiction. In other words, it’s a true, well-researched, journalistically-sound story that might normally be written in a dry newspaper manner that has been instead written with style, vivid description, and narrative flow that immerses the reader in the story. The quality of the writing used to tell the story is just as important as telling the truth of the story. Narrative history is the practice of writing history in a story-based form. It can be divided into two subgenres: the traditional narrative and the modern narrative. Traditional narrative focuses on the chronological order of history; it is event driven and tends to center upon individuals, action, and intention. Modern narrative typically focuses on structures and general trends. A modern narrative would break from rigid chronology if the historian felt it explained the concept better. Docufiction (often understood as docudrama) is a neologism which refers to a cinematographic work in a genre mixing fiction and documentary. Docudrama is wrongly used as a synonym of docufiction, confusing drama with fiction. The use of docufiction is common in television, consisting in illustrating facts or events with actors. The term docudrama is apter in this sense. The term docufiction is sometimes used to refer to literary journalism (creative nonfiction). Controversies over the legitimacy of creative nonfiction, both as a term and as a genre; flares up regularly, perhaps even annually. In recent years, several well-publicized incidents within the United States have called into question the truthfulness and factual standards of creative nonfiction. Given its different styles and characteristics, it is not held to the same journalistic ethics and standards as direct reporting or news publications. Its allowances of artistic license to authors are not standardized, and some have accused writers of glorification of interpretation, and even of fabrication. A recent example of these incidents is the James Frey controversy in regards to his memoir A Million Little Pieces, published in 2003. In his memoir, Frey claimed to certain experiences (claim to have helped a high school friend sneak out with her boyfriend on the night she died in a car wreck. But, according to thesmokinggun. com, police reports and the girl’s family indicate Frey had nothing to do with the tragedy. ), which purported to be a memoir but contained fictionalized events, is unmasked in 2006. Such scandals seem to inspire frenzies among literary and cultural critics, an excuse for predictable (but nevertheless often satisfying) expressions of Schadenfreude and sanctimonious pronouncements about Truth in Art. Writers are warned to not be too cre ¬ative with weaving their stories, however. If you add characters, dialogue, invent scenes and alter facts, you moved to the realm of historical fic ¬tion, a noble genre but still, fiction. Lee Gutkind, an English professor at the University of Pittsburgh, credited as the founder of the creative non-fiction movement. â€Å"There’s this research aspect of creative non-fiction (Ethics of Literary Non-fiction) that you can’t get away from — that a lot of writers try to skip over or do without. † Authors seem to be getting the emotional aspects of a nonfiction topic across successfully. Many authors try to carry the emotion with anthropomor ¬phism or an abundance of exclamation points, rather than building the story in such a way that the natural drama of it comes through. Sometimes, the descriptive language is not as strong as it could be. Nonfiction authors are more likely to use a simple, somewhat familiar description rather than searching for a more evocative, unique way of saying the same thing. Works Cited Gutkind, Lee (2007). The Best Creative Nonfiction, Vol. 1. New York: W. W. Norton, xi. ISBN 0393330036. Johnson, E. L. ; Wolfe, Tom (1975). The New Journalism. London: Pan Books. ISBN 0330243152 Wyatt, Edward. â€Å"Best-Selling Memoir Draws Scrutiny†, The New York Times, 2006-01-10. Anderson, Chris (1989). Literary nonfiction: theory, criticism, pedagogy. Carbondale: Southern Illinois University Press, xix-x. ISBN 0809314053. Nancy E. Zuwiyya, School Library Journal, Fox’s work, Colombia, Heinemann Library (Chicago, IL), 2000