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It happens to each and every one of us when we begin a new song. It is inevitable. Yet it is taking the pristine emptiness of a blank space and giving it life that is so truly awesome. Your mind will be crowded with all the ideas of love that you have been thinking about prior to starting, and you will not want to write anything down until just the right thought comes into your mind. Yet, what is the right thought? Is there such a thing? Is there a way to judge whether to write your thought down or not? Just simply let the first line pour out of you and find its way onto the page.

As you put your words to paper, you will surely have doubts. And beware of opinions! Sure, if something sounds dumb to you, it probably is. But it works in a song.

Books by Ava Cadell

The truth is that the answers to all your songwriting questions about words, thoughts, ideas, and direction are within yourself. Again, they are very intuitive. Make sure to write it down, even if you are sitting in a class, or at your desk at work, or in an elevator, or out to lunch with a friend. Just grab a piece of paper or a digital voice recorder, and memorialize the idea that has just come through you.

You will probably never think that thought in quite the same way ever again, as your set of life circumstances changes from moment to moment while you move through your days. So that fleeting perception must be caught and captured like a butterfly in a net. Your intuition is ultimately your most powerful tool to separate you from all other writers. It is how you get your best ideas. Striking Just the Right Tone The tone you use to write your love song will have a large impact on how it is received by the listener.

Is it to be angry or conciliatory? Is it to be respectful or does it disrespect?

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Does it cajole or plead? Does it seduce or reject? To give your song maximum impact, once you have decided on the tone you want to use in your lyric, stay with it. Sometimes, the tone will be something you plan in advance, something you go into the writing process knowing. Other times, a first line will appear on the page, written from your subconscious creative core, and it will immediately set a clear and recognizable tone for you to follow.

Not only does it set up the story, but it also sets the tone in motion. Much of what you think or feel has been buried away under the flotsam and jetsam of your life experiences. You could go through hypnosis in order to recall things that have You have to know what happened in your past, situations for you is real, and where and events that have inf lamed, you need to write from excited, hurt, or angered you. But merely bringing these ideas to the speculation, innovation, surface is of very little use, because fiction, and imagination.

But aha! Writing these repressed ideas down in a constructive way—in a song—is to keep the food analogies going a whole different kettle of fish. The emotion has somewhere constructive to go. Turning an emotion into a song is incredibly satisfying. It not only releases an idea, but it also takes it to a productive and useful level. Assessing Your Points of View You must understand what limitations you have as to how you see things, your views framed and colored as they are by your own life experiences.

The following questions are posed so you can know yourself better. Once you have a clear mental picture of your own personal responses to and prejudices, opinions, and expectations about the dynamics of love, you will have the incredibly useful revelation of just exactly how narrow your points of view are. Why are you in love with him or her?


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Is your love returned? What is it you love about this person honestly? Does that matter to you? Do you imagine that love at first sight is possible? Have you ever had a whirlwind, smash-bang, all-in-one-breathlessday relationship experience? How do you feel about other people having illicit love affairs? How do you think a problem in a relationship is usually solved in your life?

Under what circumstances are little white lies okay between love partners? Regarding the prior question, what would be the advantages of going into a relationship with no expectations? What is the best way to break up? Do you let your lover have free reign to be whoever he or she is without limitations? Do you believe a woman should initiate sex? When it comes to love, are you shy and old fashioned, or bold and forward? In your dreams, are you a free spirit sexually, or repressed? How important is it that everyone finds someone to love and be loved by?

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Would you say love is a four-letter word? Do you believe that if you love someone, you should let them go, and that if they want to be with you, they will return? Do you believe that two people are fated to be together, and that they simply have to find each other? Are you in love with the challenge, the thrill of the chase? Do you believe two people who love each other can work it out in spite of the obstacles between them?

If you were washed up on a desert island with someone you were unattracted to, do you believe you could come to love him or her? Do you believe in happy endings—finding the right partner and settling down to love and being happy for the rest of your life? Do TV- and movie-love scenarios make people have unrealistic expectations? Do you believe love is what you feel for someone else or what someone else makes you feel about yourself?

Is this a good thing or a fault? Do you tend to categorize people by this? Allow them, in fact, to be more wellrounded than you are. Love that consumes, love that gnaws at the soul, love that terrifies, taunts, entices, enfolds, crushes, suffocates, uplifts, agitates, is irrational, is illogical, is incomprehensible, is dark and seedy, is illuminating and heady, is fulfilling, is challenging, is foolish, is frantic, is zany, is undeniable, is insatiable. And those are just a few of the topics you can write a love song about!

They are the bricks and mortar that form us as people. Every memory we have is valuable; good or bad, it has helped to define us. It can be part of a song if we use it well. Say you want to describe that first kiss in a song. There are many song scenarios that would be enhanced by that particular memory. That first kiss. In every memory lives a potential song.

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How you interpret that memory is your unique art. What you have to say about that moment in your memory is totally singular. Any excuse will do. If a person is of a mind to start an argument, then there will be an argument, mark my words. It will be about the first infraction that comes up, and it will not be preventable by the partner being argued with. It might go from sizzle to fizzle in a few moments, with a hand patted, a hug, an apology.

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Or it may burst into flames and consume the relationship, unexpectedly, like a match thrown in a gas tank that someone forgot to cap. Relationships are volatile, and we all know we are guilty of being capable of starting a fight at the drop of a hat. Or at the drop of a sock in the middle of the bedroom floor. Or at the drop of an unkind jibe at an unsuspecting and momentarily vulnerable partner. Escalation can be instantaneous, zero to sixty in ten seconds, like a Maserati on a coast road.

The best of them begin with astute observation. Much of the best inspiration comes from noticing ordinary, everyday scenarios.

Normally speaking, you might look at, yet not even see, the intricate dances of fate that go on around you. You may not be aware of relationship tableaus evolving right in front of your face. You were reading the chain of ads on the perimeter of the wall above the window, but now your eyes are drawn down to the couple who are going through some soul searching.

She looks away from him in complete annoyance. You have now totally inserted yourself into their struggle. You are like an observer at a tennis match, not part of it but one with it. And as you watch, you reminisce, take a little unexpected stroll down memory lane. A gesture or a look displayed by one of these strangers on the train will trigger a fractional memory of a moment with someone you have loved yourself. Oh yes, the words will come back to you: what you said, what they said, where it led, how it ended. Then you will begin to try to remember how that moment happened to happen, where it came from, and all of a sudden, watching this couple of total strangers in a commuter car has you remembering an amazingly indelible moment in your own life, a pivotal moment that could have changed everything, that—if not for observing these strangers—you might never have bothered to recall.