HBerjamaah Kita Bisa

Alhamdulillah sejak terjun ke dunia kepenulisan dari 2008, saya banyak bergabung ke berbagai komunias kepenulisan. baik yang ada di dunia maya alias fesbuk maupun di dunia nyata alias kopdaran.
Ada grup Hasfriends, Cendolers, IIDN, IICS, PBA, Sabula, BAW, Unsa, dan masih buanyak lagi.

Dan yang istimewa dan  seru dari grup be a writer alias BAW ini adalah seluruh anggotanya terasa seperti keluarga. Kalau masuk situ rasanya adeeeeem, kalau lama nggak berkunjung, rasanya kangeeeeeen.
Kami saling menyemangati satu sama lain. Saling menyelamati jika ada pencapaian-pencapaian di antara anggota-anggotanya. Dan saling sharing berbagi cerita juga ilmu dan pengalaman.

Alhamdulillah. Semoga berkah terus dan selamanya. Menjadi saudara di dunia sampai akhirat. Aamiin.
Peluk cium untuk semua BAWers.. :)

101 Bisnis Online Paling Laris

Cara-cara mudah memulai dan menjalankan bisnis online dari rumah

Bisnis online adalah bisnis yang fleksibel. Risikonya relatif kecil, waktunya mudah diatur karena dapat dikontrol dari rumah, dan transaksi keuangan bisa dilakukan melalui internet banking. Selain itu, modal yang diperlukan relatif kecil, tapi jangkauannya hingga seluruh Nusantara, bahkan ke luar negeri. Banyak yang menjadikan bisnis ini sebagai usaha tambahan, bahkan ada yang menjadikannya bisnis utama.

Banyaknya pilihan bisnis online ini sering membuat para pemula bingung menentukan jenis bisnis yang akan ditekuni. Lalu, bagaimana memulai dan memasarkannya, serta berapa keuntungan yang akan diperoleh?

Buku ini mengupas 101 pilihan bisnis online yang paling laris dan disukai, mulai dari bisnis jasa, kerajinan tangan, kuliner, fashion, hingga “toko” online. Pembahasannya yang mudah dan sederhana bisa membuat semua keraguan pupus, dan Anda pun siap berbisnis. Setiap bisnis juga disertai dengan uraian dan analisis keuangan yang detail. Pilihlah bisnis yang sesuai dengan diri Anda, dan raihlah sukses bersama bisnis online!

7 deadly sin of writing

In a thought-provoking, writing tips based ThrillerFest panel provided by WD managing editor Zachary Petit, four popular authors shared what they believe to be the deadly sins of the writing craft. Here are seven of their offerings. Have you committed any of them?

1. Laziness
(David Hewson, author of the Nic Costa series)
Intellectual laziness is something all writers are prone to: as in writing the same type of book, and doing it annually. “I think you really have to fight against laziness and constantly keep challenging yourself.” Like great art, books aren’t ever finished—they’re abandoned. (In other words, don’t just finish writing a first draft and call it a day.)

2. Trying to be a good student
(Lisa Gardner, author of The Killing Hour)
Gardner said it’s a thrill to rope a lot of cool forensic facts in the research process. But the danger is in going home and regurgitating all of them in your novel—“When really thrillers are all about entertaining. …” Keep that story moving forward.

3. Marching down the outline
(John Sandford, author of Buried Prey)
This occurs when you sit down to write and follow your outline exactly. Sandford said some people use an outline like a frame, and merely embroider within it. Outlining is fine, but sticking too closely to it can stifle your story. “If you do outline, you have to be aware of the problems that that kind of thing can cause.”

4. Denying jealousy 
(M.J. Rose, author of The Hypnotist)
“I try to not allow myself to be jealous of other writers and the books they’ve written,” Rose said—but in fact, she believes it’s a good thing to let some of that jealousy seep through. So don’t bottle it up. “I think it’s really healthy to let yourself have the full range of emotions.”

5. Focusing too heavily on the business
(Sandford)
One of Sandford’s friends obsesses over the business end of writing—his friend writes a book, and then gets lost in all of the trappings of business and promotion … “to the exclusion of actually writing novels.”

6. Not reading books 
(Rose)
Reading is essential for writers. Rose cited a study that said that 23 percent of people in the United States want to be writers. If all of them read 10 books a year, Rose said, “We’d all be doing a lot better.”

7. Imitation
(Hewson)
There is a difference between imitating a book, and being influenced by a book. Hewson added that it’s valuable to figure out why you think certain things work in the books you read, and why others don’t.

sumbr :http://www.writersdigest.com/online-editor/the-7-deadly-sins-of-writing

which one you prefer

A simple story, written superbly. I prefer that, compared to an intricate one, written poorly. 
(primadona angela)

how identify-premise-conclusion-argument

Instructions

1. • 1
     Find the conclusion first by looking for the statement that makes the main point. Ask yourself with what thought the person presenting the argument wants you to leave. The conclusion is often the first or last statement in an argument, and sometimes it is repeated to emphasize that it is the main point. Write down the sentences on a piece of paper and figure out their relation to each other. Learn the key words that are likely to be used in a conclusion. Key words include therefore, for that reason, thus, so, for, then, consequently, as a result and accordingly.
   • 2
     Look for sentences that offer evidence, anecdotes, explanations, supporting arguments and quotations from authorities to support the conclusion. Premises are reasons given to support a conclusion, and they can be identified by key terms that include according to, considering, by, if, given that, in fact, for, since, because and after all. The context in which key words are used determine whether or not they are clues to identify premises and conclusions.
   • 3
     Identify missing premises. When presenting an argument, some speakers assume certain premises are facts or common knowledge that don't need to be stated. If a premise seems to be missing, you might have to try to get into the speaker's head and figure out what statement they have left unspoken that would support the argument's conclusion. Translate rhetorical questions in an argument into declarative sentences.

sumber : http://www.ehow.com/how_7762573_identify-premise-conclusion-argument.html

How To Write formal outline

Instructions

1. • 1
     Compose a sentence that describes what your book is about. In nonfiction, this sentence is synonymous with a thesis statement (eg, "This book examines why women in Southeast Asia have a higher pain tolerance than their American counterparts."). In fiction, the sentence you write identifies the book's core conflict (eg, "Miriam has 48 hours to prevent her brother from marrying the wrong woman.").
   • 2
     Divide the content of your book into three sections. Whether it's nonfiction or fiction, every book is structured around a beginning, a middle and an end. Assign these broad sections the Roman numerals I, II and III just as you probably did in school when you were learning how to create outlines for essays. Give each of these three sections a title or short phrase that summarizes the broad content of that section.

     In nonfiction, for instance, it might look like this:

     I. Methodology

     II. Case Studies

     III. Conclusions

     In fiction, the categories might be:

     I. Miriam learns who Harry is marrying

     II. Genevieve endeavors to silence Miriam

     III. The day of the wedding arrives
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   • 3
     Create subcategories under each of the Roman numerals and assign them the letters A, B, C and so forth. Depending on the level of detail you want to construct, you can then move to further breakdowns of 1, 2, 3, etc. and a, b, c, etc. When you have completed the outline, review each of your entries to ensure that they relate back to your original statement of intent, and that you've stayed on message. In her title, "The Scene Book," author Sandra Scofield emphasizes that each event in a work of fiction should have a definitive reason for its existence, a structure that advances the plot and a tempo that alternates between escalating the tension and allowing the readers to thoughtfully contemplate what they've just read. In nonfiction projects, each element should not only flow smoothly into the next but should embrace a structure in which simple concepts are introduced first and transition to more challenging material.
   • 4
     Rewrite the entries from your fiction outline into a narrative format if you're planning to send it to a publisher along with your query letter. Unlike a nonfiction outline in which all of the topics you've identified can stand as section and chapter titles and be submitted in exactly that form, a fiction editor wants to see an outline that reads like a sequential synopsis of events. Ideally, it should take no more than three paragraphs for this narrative overview and follow the same structure of beginning, middle and end.
   • 5
     Identify the placement of any supplemental content in your nonfiction project. This could include maps, photographs, translation guides, glossaries and appendices. During the writing process, including these elements in your outline will help ensure that you don't leave anything out.

sumber : http://www.ehow.com/how_6729830_write-formal-outline-book.html

Membuat Premis

Instructions

1. • 1
     Describe what your novel is about in 1-3 sentences. For many writers, this is more challenging than writing the actual novel but is a critical exercise for revealing whether the premise is both compelling and sustainable.
   • 2
     Understand the difference between a "story" and a "plot". They're often used interchangeably by new writers but mean different things. If you write, "My novel is about a parrot that herds sheep", you're describing the book in terms of its story. How the phenomenon of a sheep-herding parrot originated and what the outcome will be, however, is what constitutes your plot (which is also known as your premise).
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   • 3
     Go back and read what you wrote in Step 1. If you described your novel in terms of its story, rewrite it now to reflect its plot. For example, suppose you wrote, "My novel is about three brothers who are worried about what they'll inherit from their father". That doesn't say much to grab a reader's attention. We don't know what the setting and circa are, whether the siblings get along, or even whether the father is still alive. If your setting is Medieval England, the rules governing the division of an estate amongst brothers dictated that the eldest inherited the land, the second son took up arms to defend the king, and the third son was required to enter the clergy. Suppose, though, that the third son isn't keen on donning a monk's robes and being celibate. While he can't change English law, he can change his immediate circumstances and take steps that will ensure he assumes the number one slot. By spinning these collective elements into 1-3 sentences of intrigue, you have a premise that begs the question of "what happens next".
   • 4
     Identify the point of view that will prevail in your novel. In the example above, the majority of the action revolves around the third son and his determination to do whatever he has to in order to inherit.This then places all the focus on a character who is actually the villain instead of the hero. Consider how differently the dynamics would unfold if the core perspective were shifted to one of the siblings, the father, or even a household servant - any one of which could assume the role of hero and thwart the younger brother's evil schemes.
   • 5
     Identify what's at stake. For the premise of your novel to capture the imagination, it needs to be clear from the get-go what the end-game is and what the characters are willing to do or sacrifice in order to reach their goal. A solid premise is always based on reward, revenge or escape or a combination of the three. In the example above, the premise is based on reward (the inheritance) and revenge (predicated on jealousy of the two older brothers). The stakes are high because the property and the prestige translate to power and respect. These mean so much to the younger brother that he's willing (and perhaps even a bit eager) to commit murder, a crime that is punishable by death if he gets caught. If the premise is such that the character(s) could walk away from their quest(s) without incurring any consequences, it's not a sustainable plot.
   • 6
     Define the genre of your novel. This should be reflected in the premise and communicate to the reader the tone and themes that will prevail. Example: "'Ill Gotten Gains' is a Medieval comedy in which the youngest of three brothers seeks to avoid a life of servitude to the church by leapfrogging his way to the top of the inheritance line by whatever means necessary."

sumber : http://www.ehow.com/how_4928644_write-premise-novel.html