New york daily news

The story behind the New York Daily Post Rich and just basically brimming with culture and history, New York CIty actually has a million or more stories to tell about its decadent past and how things around this cosmopolitan city all came to be. Considered to be as one of the United States' biggest newspapers, whose circulation is actually well more over 700,000 copies. The New York Daily News, a newspaper printed using a tabloid format has actually started its newspaper journey way back in the year 1919. Mortimer Zuckerman was actually the founder of the New York Daily News while also having the catch phrase, "New York's Picture Newspaper" (which has over the years, was changed to "New York's Hometown Newspaper"). Still, in spite of the various changes, the New York Daily News has continued on printing their tabloid format newspaper still with a lot of photographs. Of course, the whole point of being a newspaper just simply means that the New York Daily News also contains lots of news (obviously, it's not called New York Daily NEWS for nothing). Gossip about celebrities and other famous people also abound in the New York Daily News Page 6 columns, it is where people often turn to just to read about the hottest, freshest and juiciest gossips about the who's-who in the industry. As like with other newspapers, the New York Daily News also contain a classified ads section, a popular comics section as well as an equally well-read sports section and an opinion section. New York Daily News really packs in the punch with its varied features and scopes of interest. Here's a fun fact about the New York Daily News: Bill Gallo is actually the much celebrated sports cartoonist of the New York Daily News. The New York Daily News was actually founded by Joseph Medill Patterson who's family were actually the publishers of The Chicago Tribune, the New York Daily News has also been able to establish WPIX-TV and WPIX-FM. During the whole history of the New York Daily News, there was actually a time, during the early part of the 1990s that the New York Daily News almost went to bankruptcy. Fortunately for the New York Daily News however, was the financial assistance that was brought about by Robert Maxwell, a millionaire who offered to help the New York Daily News stay in the media business. However, due to Robert Maxwell's death, his company didn't any more felt the need to continue on publishing the New York Daily News. When it comes to their opinions section however, the New York Daily News try to set its self apart from its various competitors. The well-respected New York Times have actually set very liberal standards for their newspaper's opinions column, while fellow tabloid, the New York Post differs from the New York Daily News' opinions pages by being a staunch rightist. However, the New York Daily News has actually been able to acquire ten Pulitzer prizes since it was first established but due to its fierce competition with fellow tabloid, the New York Post, the New York Daily News has actually resorted to some sensationalism as a counter-tactic against the New York Post wherein the New York Daily News has been touted as the newspaper with the most creative headlines and captions for its photos in all of journalism.

Writing memorable poetry verses

There are many occasions in life that spur people into writing memorable poetry verses. Some of these verses might come when we fall in love for the first time or they may come when we are exposed to a memorable experience that touches our heart in one way or another. Writing memorable poetry verses will only require a conscious effort since there is no true form to use to express the writing of poetry. Some of our earliest recollections about writing memorable poetry verses might come from grade school. The time tested exposure to red roses and violets will lead us to create several sentences that tell some other people why we love them so much. Perhaps they already know that sugar is sweet, but they may not have any clue that someone loves them and to hear that verse is a memorable experience. Other people begin writing memorable poetry verses after they have buried a best friend. The older tombstones at the cemetery might have verses of poetry on them that convey the true spirit of a person that might have lived 100 years ago. Some people are so enchanted by the verses that they read on some of the tombstones that they begin writing memorable poetry verses that can be used on greeting cards. Many poets will begin writing memorable poetry verses to convey a message. These messages might be long and drawn out and by the time the verses are completed the words have developed into a play. Shakespeare wrote Romeo and Juliet in Acts that turned the verses of poetry into real life conjectures that conveyed how seriously people take falling in love. When writing memorable poetry verses, poets should consider the power of the written words and realize that some people are willing to commit suicide from the emotion that comes from reading the words put to paper. People choose to compare their lives and their relationships to Romeo and Juliet and end up making the wrong choices in how to deal with their disparity. The poet is not at fault for how others perceive the end product of the he spent writing memorable poetry verses that anyone could find solace or pleasure reading. Love is a powerful emotion that can enrich lives and form commitments that may last a lifetime. Many marriage ceremonies include poetry that the Bride and Groom speak to each other. They are writing memorable poetry verses that convey words of commitment and fidelity but are more personable because they are spoken when they are standing in front of a congregation of family and friends.

Evaluating your own work

EVALUATING YOUR OWN WORK By Derek Rydall Founder, ScriptwriterCentral “Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Decay with imprecision, will not stay in place, Will not stay still.” -- T. S. Eliot, Four Quartets WRITING IS REWRITING As a writer, you may use other script consultants to critique your material, but inevitably you’ll need to master the ability to analyze your own work. This can be a difficult task, somewhat akin to trying to look at your own face (without a mirror). If you are going to write at a level that sells, however, you will need to rewrite. And rewrite. And rewrite… But do not despair, you’re in good company. Many screenwriters struggle over evaluating their own work. I still have bloodstains on my office walls where I pounded my head as I rewrote one script sixteen times before putting it in the market. I once spent so long looking at a single word that it lost its meaning and was reduced to its original, primordial symbolism. Talk about a head-trip! And it’s not just screenwriters that suffer with this. The French poet, Paul Verlaine, once said that a poet never finishes a poem, he abandons it. Marcel Proust continued to correct proofs for Remembrance of Things Past on his deathbed. Henry James rewrote some of his novels long after they were published. And Oscar Wilde once proclaimed that he spent all morning adding a comma and all afternoon deleting it. Boy, do I know that one! So how do you analyze your own work without becoming an alcoholic or a guest at the Mad Hatter’s tea party? First, you have to accept the fact that you will never have a completely objective perspective. Second, you have to learn when to just grit your teeth and conclude that the work is finished -- even if you have the uneasy feeling that more can be done. Honestly, I still feel that way about almost everything I’ve written. It goes with the territory. There are certain things you can do, however, to gain some perspective: ABSENCE MAKES THE HEART GROW (LESS) FONDER Writing is a love-hate relationship. We start out hating everything we’re writing, and end up blinded by love for every word we’ve put on paper (or the other way around). In order to gain objectivity, we must get distance. Putting your work away for a while – sometimes weeks or months – can allow you to come back not so enamored by it. (Falling in love with a new piece of material can also help.) It gives you a chance to read it almost as if it’s someone else’s. This is the first, and perhaps most important, step for evaluating your own work. If you find yourself getting hung up again, wanting to save all your babies, stick it back in the drawer and move on to something else – or send it to a trusted friend or script consultant. BACK TO THE DRAWING BOARD -- OUTLINING AGAIN Deconstructing your script back to an outline form can make the process more analytical again and give you some much-needed objectivity. It allows you to see the basic building blocks and recognize if this house will really stand. Then you can make the necessary changes in outline form before you go back to script. HAVE A READING Getting a group of actors together to read your script aloud can be an anxiety-producing experience -- but almost always an illuminating one. Hearing the actors speak, and often stumble over, your dialogue, definitely gives you a fresh perspective on it. You begin to see that some of your words don’t fall trippingly over the tongue, but cause the tongue to trip and fall over the words. After the reading is done, you can elicit feedback from the actors – or the audience, if you have one. But I must issue a word of warning here. Having a group of actors give feedback on your script could be one of the most painful experiences of your creative life. The first time I did it, the group ganged up on me to proclaim just how bad the script was. It was downright ugly. AND THESE WERE MY FRIENDS! Even my mom was part of the lynch mob! It dealt a crushing blow to my fragile writer’s ego. I promptly threw the script away, indulged in the nearest libation, and curled up in a warm and cozy depression. A couple weeks later, however, I emerged from the near-suicidal encounter with a ton of insights and a much better script. THE FAST “NO-BRAINER” READ Your unconscious already knows what’s wrong with your script, it just can’t get through the filtering of your conscious monitoring mind. So sometimes, just riding over your script roughshod, writing every note that comes to you without considering the absurdity of it, can result in some pretty insightful and inspired comments. It might also result in some pretty brutal ones as well. But that’s okay. After the group therapy session you had with your script reading, you’re tough enough to take it. THE HIERARCHY OF NOTES One of the toughest parts about rewriting, once you’ve evaluated your script, is knowing where to start. You’re sitting there, staring at a big smelly pile of notes -- scribblings and late-night ramblings on every page, legal pads covered in blood and coffee stains. There’s just no way to begin easily and painlessly with that mess. So don’t. Yet. Organize your notes from ‘easiest’ to ‘most difficult.’ In other words, at the top of the list will be the typos and grammatical errors, then descriptive polishes, dialogue polishes, moving on down to the more difficult character, plot, and theme notes. I know that a major time-management proposition is to begin with the most important goal or task and stick with it until it’s finished. But this ain’t time management, folks. This is art. It’s not rational. So I believe it’s better to start with the easiest damn thing and get it done fast. Then move to the next easiest thing and whip it out quickly. Now, with a little more momentum, you might actually be willing to tackle the more difficult notes with a higher level of confidence and a lower level of antidepressants. A FINAL NOTE ON GIVING YOURSELF NOTES Some of you will be way too eager to get your script out to every producer in town – even after the first draft. Your task is to develop patience. You’ve spent this long on the script, what’s another few weeks or months to make sure you’ve got it right. Just take a breath. Put the script away. Rewrite it. Whatever you do, don’t send it out there knowing it could be improved, thinking “they’ll just fix it in post.” NO THEY WON’T. The only ‘post’ that script will see is ‘compost,’ because that’s the pile it’ll end up on. So unless you want your work to become fertilizer for someone else’s lawn -- chill out, dude. Then there are those of you who will resist sending your script out into the seemingly cold, harsh world of Hollywood no matter how long you’ve been working on it. This is not only inefficient, it’s creatively debilitating. Think of your script like a plane that has landed and is still on the runway. If you don’t move it along, all those other planes (stories) can’t land. If you’ve done everything you can, had others give notes on it, rewritten it until the words have lost their meaning -- it’s time to abandon your baby. Wrap the little babushka up in a blanket and set it on the doorstep of every production company you can. With a little luck, someone will decide to make that child their own. ------------------------------------------------------------------------------------------ As a screenwriter, Derek Rydall has sold, optioned, or been hired on assignment for over 20 film and TV projects. He has developed projects for the producer of Ghost, RKO, U/A, Miramax, Saturn (Nick Cage), and many indie producers, as well as worked as a staff writer for Fox, Disney, and Deepak Chopra. As a story consultant/script doctor, Derek has helped writers, producers, actors, and directors turn books into screenplays, secure millions in financing, make six-figure script deals, get hired to exec produce, direct, star in their movies, obtain major distribution, and win awards. And as an author, Derek's book, I Could've Written a Better Movie than That!: How to Make Six Figures as a Script Consultant-- Even if You're Not a Screenwriter, is due out October by Michael Wiese Publishing. For more info, you can check out his site, scriptwritercentral, email derek@scriptwritercentral or call (661) 296-4991.”