#just tell the program “my notes for the current (writing) document are in this secondary document”

[jonquilandlace]

Someone should hire me for ideas on building a superior word processor specifically for dissertation writing I have so many good ideas

[nanowrimo]

How Dabble Just Might Help You Write Literary Gold

Every year, we’re lucky to have great sponsors for our nonprofit events. Dabble, a Camp NaNoWriMo 2018 sponsor, is a writing platform designed to help you become a better novelist. Today, writer and educator Galadriel Mitchelmore shares her experience with dabbling in different writing platforms:

Dabble is “to try”. The dictionary definition implies a blasé application of effort. But the word “dabble” is often paired with “magic” and the “occult”—essentially, bringing out what is hidden. And isn’t that what writers do? Pull up characters, worlds, conflicts, stories—all mined from the mind. Writing is alchemy. It requires transmuting fragments of imagination, attenuating repeatedly until literary gold rises to the top.

Writing is hard. So, is there a way of not getting hopelessly lost in the process? Is there a crucible, of sorts, that the writer can tip all their story elements into? One place where ideas can be experimented with and the results clearly seen?

Paper Rafts Don’t Float, and Word is by No Means Final

In the beginning was Microsoft Word. But Word does not appreciate the writerly mind. For me, story planning and writing is messy. There are myriad ways to create a map of intentions, and I’ve made many in lots of different places—which is probably why it took me several years to complete my first novel. I’m not blaming Word for my incompetence as a developing novelist, but the program has its limits.  

I generated copious Word documents, saving different edits in several folders. When I wanted to return to a particular one, I could never find it.

Ditto that for my use of paper. I used reams of it: post-it notes, A4 plot grids, plain paper, lined paper, notebooks, index cards to hold on the spur ideas, web addresses, research sources, word counts, timelines, character files, story arcs.

Yes, I was being creative; my ideas were abundant, my research thorough. At the time, writing on paper was a comfort; it was helping me to organize my ideas. I thought I was getting on, getting ahead, succeeding.

But you know, paper makes for a poor life raft in a sea of paper. Sure, my ideas were organized—just organized all over the place. Somehow, everything required being neatly assimilated and tied up in Word. That’s what agents want—a coherent novel.

With much angst, I did it.

For the next novel, I needed to work quicker and smarter if I was going to get anywhere soon. I needed an outside pressure, so I joined NaNoWriMo.

I won. I had fifty thousand words of a new novel. As anyone will know with first draft material, any gold is buried in masses of dull prose and clunky sentences. Haunted by my previous novel and slightly sick at the thought of repeating old mistakes, I turned back to the NaNoWriMo pages for inspiration. That’s when I saw Dabble.

I was skeptical. How could a program make you better at writing novels?

Dabble’s subscription was very reasonable; it seemed ridiculous not to try it.

Dabble, and Dive Deep

Dabble’s website will tell you all you need to know. What I will say is, it’s revolutionized my writing process. I still use some paper, but it’s easier to keep notes together in Dabble. The cloud facility means I can work on any computer, anywhere. It’s made story-crafting so much easier. 

For me, controlling scenes is paramount. In Word, scenes and chapters are in one, continuous, scrollable document, and things can get messy. In Dabble, each scene is a discrete document. If I want to try out a variation of that scene, I add a new scene, and because it won’t impact what I’ve already written, I can choose later which one I prefer. The drag and drop facility means it’s easy to move scenes and chapters around. If I need to make changes to my first novel, it’s going to be easier with Dabble. As for the work in progress, well, I haven’t cried yet and I did plenty of that with the first.

No Need to Dabble Alone

Dabble is new and evolving, and the roadmap is exciting. The online community is warm and inviting, and users can request features they think would benefit creative writers. The “Chat with Support” function is brilliant. I’ve really appreciated being able to fire off a question when I’ve needed to, and get a quick to response to my queries and issues.

Dabble is an excellent tool that enables you to focus on writing excellently. Jump in and Dabble! You may make enough ripples of sparkling prose for someone to notice.

Galadriel Mitchelmore taught English at Secondary Level for almost ten years. She now works from home, teaching herself the craft of writing. She’s currently seeking representation for her YA Gothic Horror. When she’s not writing, she can be found tackling her garden or out walking with her husband, Andy, on Dartmoor.

[yeonchi]

The absolute state of jobseeking in current year

Today, I take a big step in my transition into society as I begin my first (actual) job. It gives me no pleasure to say that this wasn’t an easy journey in the least because everyone else makes it look that way and therefore, I assumed that it was.

I never had a job (working fast food/retail/whatever) in high school, except for a week indexing documents, filing documents and assembling boxes at a bank for work experience, so imagine my shock when I go to a jobseeking site and everything I find requires at least a year of experience, even the jobs labelled as “entry level”.

During my uni years, I was on welfare benefits that required me to be 18-24 and studying full time. In the second semester of my third year of uni (2019), I decided to defer my last subject to the next year because there was something I wanted to take up that I couldn’t in that semester. Of course, this would mean that I would be studying part-time, so I was no longer eligible for that particular welfare benefit.

Since I thought that it was time for me to focus on looking for work, I signed up for that particular welfare benefit. One of the mutual obligations was that I had to send 20 job applications per month and record them on a web portal. I was also assigned an employment provider to attend appointments every couple of weeks to talk about my progress.

When I first met my provider, I was taken aback by what he said; I thought that sending 20 job applications was a cinch, but he told me that I had to focus on finding full-time work and that I could take up uni studies outside of work hours (my course didn’t count as an exception to their rules). This was quite a shock for me because this wasn’t exactly what I had in mind. He also told me that I had to apply for any job I was suitable for and not just what I wanted; bit much to ask for me but ok.

So, for the next few months, I fulfilled their requirements to the best of my ability; I applied for jobs through a jobseeking site and attached a resume with either a short cover letter that I learnt how to write online or none at all if I wasn’t that bothered. My provider seemed like a nice guy, but as time went on, something about him didn’t sit right with me, like either him or the entire jobsearching thing was giving me bad vibes. Learning about the AUWU (Australian Unemployed Workers Union) and some of the things people wrote on their sites and pages didn’t help things either.

About a couple of months later, I didn’t feel like I was making any progress because despite all the job applications I sent, I never got any calls or emails back from them whatsoever (I did get a call for an interview once before I signed up for this welfare benefit, but I didn’t get the job in the end). It was then that I found out (through my university) that another employment provider had a program to help tertiary students living with disabilities find work. While I have been diagnosed with autism, I have never taken advantage of it to seek assistance (I did have teaching aides at primary and secondary school, but I was mostly capable of doing things otherwise so they mostly acted as assistants to the whole class instead of just me and the other kids with disabilities).

I signed up for this program and after going through a long progress of getting a medical certificate from my GP to verify my autism, going to the benefit office to get an assessment and informing my then-current provider of my intentions, I was successfully transferred to that program.

It was also around this time that the coronavirus pandemic happened and lockdowns resulted in me having to attend appointments over the phone or on Zoom, which I had no problem with. At the same time, I was also accepted for a work-from-home position with Lionbridge, which I only saw as a side gig. I did that job for a year before I quit - the lockdown and my various hobbies resulted in me only contributing two hours per week when Lionbridge recommended ten, though I did push myself to do ten hours during two particular weeks where they gave bonuses for those who achieved that goal. The gig was mostly checking Google search results to see if they fit with the user’s intent for the search - it was nice, but boring given that I get distracted while working on the computer at home and I had to record the times myself because their system didn’t do it for you. As a result of the lockdown, I just finished up the one subject I had left to finish my course and that was it. My welfare benefit also doubled because of the coronavirus supplement and I got to do some things I thought I would never be able to do because everyone was exempted from looking for work during that time. Even though I was caught up in some bad timing, I managed to find a big silver lining to it.

While I didn’t achieve much success with jobseeking during my time in the program, I did gain a lot more out of it than I probably would have did with my past provider. I did a short mentorship with someone from a big company who helped me to revamp my resume and cover letter. I applied for a few graduate programs and managed to progress to the assessment centre stage for one of them, but I didn’t get in in the end. I attended a three-week work experience assessment program with an agency dedicated to helping people with disabilities find work with big companies. I never told my career coach about my gig with Lionbridge because I signed up while I had correspondence with my first career coach and she quit a short while after - I don’t think she ever told him about it, so whatever I guess (also, as I said, it was only a side gig, so my goal was still to find full-time work).

On a side note, after a year with my previous provider, I would have had to undertake a “work for the dole” program, which is literally what it says on the tin. I don’t know what would have happened if it got to that stage because I managed to get out as quickly as I could and the lockdowns meant that changes had to be made as a result.

At the start of this year, I applied for what I thought was a part-time job at a single organisation, but was actually a casual contractor role. They accepted me and signed me onto their list and I never got a call or email from them again for like four months (with the exception of a newsletter lol). Remember this as it will be important for the next bit.

A few weeks ago, my coach informed me of a role being available at the very provider I was with. I thought I was very suitable for the job, so I asked him to pass on my resume to them. After a couple weeks of waiting, I was asked to come in for an interview on a Friday (I was only one of two applicants who signed up for that role, they never advertised it anywhere else). I went to the provider’s office and just as I was getting off the tram, I get a call from the contractor role advising me of a new job that was starting in a couple of weeks. I stalled them by asking them to email me the details before calling my coach to tell him about it; he advised me to focus on the job I came to interview for and I agreed since I knew it would be better for me and I had a stronger connection with them than with the contractor. So I ghosted the contractor, did the interview and went home that day with the expectation that I would get a reponse by the end of the day, but I didn’t since the interviewer was busy and I had to wait until the Monday.

I went away for a short trip that weekend and on the Monday, I get another call from the contractor asking me for my response. I stalled them again, telling them that I was out of town, then soon after, I get a call from my coach informing me that I got the job. I called the contractor again and told them to remove me from their list because I now had a full-time role. After a few calls that week, I agreed to start on the Monday after - which brings us up to today.

Personally, the wait was worth it, but the fact that it took four years for me to find a job (one-and-a-half since I signed up for that welfare benefit), most of the companies I applied for never got back to me and the entire thing with my first provider stressing me out just shows the absolute state of jobseeking in current year, particularly for a sheltered autistic like me who has had no experience in the workforce. I’m not advocating for “free money” because I’m evidently capable of working (and I’m also not an idiot), but I wish that companies and the government could give us a break now and then and save us the stress of worrying about whether we will actually get a job or whether we will be capable to feed our families with the amount of money we get and the conditions we have to abide by.

Society may be a fucking joke, but there are times where it comes through.

[spamzineglasgow]

SPAM Digest #2 (Oct 2018)

A quick list of the editors’ current favourite critical essays, post-internet think pieces, and literature reviews that have influenced the way we think about contemporary poetics, technology and storytelling.

‘How to Write About a Vanishing World’, by Elizabeth Kolbert, The New Yorker

Like many others, I’ve spent a week in a state of grief about the recent IPCC report. I’m all over The Guardian like a traumatised fungus, trying to find nourishment in the form of answers, devouring data I don’t understand. I sense the dyspeptic effects of all those figures. Thank goodness for Elizabeth Kolbert, author of The Sixth Extinction: An Unnatural History (2014), who draws us back to the role of narrative in making sense of our vanishing world. Provocatively she opens with the familiar trope of the ‘stormy night’ and tells of ‘an American herpetologist named Marty Crump’ who, after a neighbourly tip, discovers the emergence of golden toads not far from her home in northwest Costa Rica. This is in the late eighties. These strange and beautiful creatures are part of the biospheric treasure trove whose loss Kolbert then documents across the intervening decades, up to the present. By the turn of the century, she suggests, biology had become a practice of living elegia: ‘A biologist could now choose a species to study and watch it disappear, all within the course of a few field seasons’.

Her article collects numerous other stories of scientists losing their subject — from Arctic ice to Great Barrier corals — until extinction becomes the presiding litany of our times. She notes how researchers find themselves paralysed, unsure of intended outcomes when faced with such scales of ecological loss. Even as scientific projects to assist vulnerable ecosystems gather in nuance and strength, there’s a sense that we’re already fighting a losing game. Science becomes a question of narrative transmission, as much as active intervention; by doing research, you’re sending some sort of message of hope. As Kolbert puts it, ‘Hope and its doleful twin, Hopelessness, might be thought of as the co-muses of the modern eco-narrative’, inspiring nature writers and scientists alike. The central question is ‘how we relate to that loss’: is it a question of elegy and mourning, or sparking a call to arms? Even those writers who urge us to act, who celebrate the potentials of direct intervention, admit that none of this will happen fast enough to make a lasting difference. Ending on the phrase ‘Lalalalalala, can’t hear you!’, Kolbert sardonically evokes that familiar, Trumpian stage of climate denial which has been rearing its all-too-human, deluded head of late. But what persists is the value of keeping on — ‘Narrating the disaster becomes a way to try to avert it’ (and here I am reminded of Maurice Blanchot’s writing of the disaster as a polysemous, irreducible event) — writing, as Kolbert does in this piece, our stories in the face of defeat. An earnest act in the face of inevitable cynicism, a careful digestion of failure. Maybe ecological writing just needs to be more metamodern. 

M.S.

‘Your favorite Twitter bots are about die, thanks to upcoming rule changes’, By Oscar Schwartz, Quartz

Twitter bots fans, you might want to take a seat: there could be some terrible news out there. According to Oscar Schwartz and his article on Quartz, many of our favourite sources of coded linguistic beauty might disappear in the coming months due to what he calls ‘a company-wide attempt to eradicate malicious bots from the platform.’ A couple months ago, Twitter announced that they would start requiring bot developers to undergo a thorough vetting process  in order to gain access to Twitter’s programming interface (where the essence of a Twitter bot lies) - an amount of bureaucratic load that prolific bot artists have told Schwartz would simply be too much work to keep up with.

Regardless of the bleak prediction, the think piece reads less like a eulogy for Twitter bots, and more like a defense of them. Schwartz provides us here with a real goldmine for Twitter bots to follow -  from Jia Zhang’s @censusAmericans, which composes little biographies of nameless Americans by compiling information provided to the open census database, to Allison Parrish's @the_ephemerides, which couples images of distant planets from NASA’s archive with computer-generated poetry. In a statement to Schwartz, Parrish (a poet, computer-programmer, and educator as well as a Twitter-botter) states that ‘asking permission to make a bot is like asking someone permission to do graffiti on a wall (...) It undermines everything that is interesting about bot-making.” - a point that is not only rhetorically effective, but possibly a very productive way of conceptualising Twitter-bots as an art form.

‘For these bot-makers, letting their creations die off on Twitter is an act of protest. It’s not so much directed at the new developer rules, but at the platform’s broader ideology. “For me it’s becoming clear that Twitter is driven by a kind of metrics mindset that is antithetical to quality communication,” Parrish says. “These recent changes have nothing to do with limiting violent or racist language on the platform and are all about making it more financially viable.”

[Darius] Kazemi [another prominent bot artist] agrees, adding that to continue making creative bots on Twitter is making a bargain with the devil. “We’re being asked to trade in our creative freedom for exposure to a large audience,” he says. “But I am beginning to suspect that once we all leave Twitter, they will realize that we represent a lot of what made Twitter good, and that maybe the platform needs fun bot makers more than we need Twitter.”’

D.B.

‘Erasing the signs of labour under the signs of happiness: “joy” and “fidelity” as bromides in literary translation’, by Sophie Collins, The Poetry Society

Some of our most significant intellectual epiphanies occur in lecture theatres, often in resistance to the lecture in question. Maybe this is a form of vicarious translation. In her piece, Collins begins with an anecdote about a lecture she was looking forward to leaving her cold. The speaker’s takeaway slogan, the ‘joy of translation’, rang hollow as a company ‘mission statement’. Against this platitude from the corporate happiness factory, Collins explores the affective entanglements of reading translation through various types of negativity, the disciplinary disparities around its process, intentions and attendant critical debates. Drawing upon her own experience in translating literature from the Dutch, Collins explores the value of acknowledging struggle in translation — from ‘uncertainty and self-consciousness’ to ‘breakdown and frustration’. She makes room for the translator’s own vexed identity to be critically recognised in the process, and thus asks for analytic frameworks which keep in mind the theories around hybridity posited by thinkers such as Gayatri Spivak, Homi K. Bhaba and Julia Kristeva.

Working through the negative space of translation, Collins goes on to deconstruct the concept of ‘joy’ itself, upon whose insistence various arms of society’s ideological apparatus are able to keep us in stasis and check: ‘Given that the desire for happiness can cover signs of its negation, a revolutionary politics has to work hard to stay proximate to unhappiness’. Joy becomes less a personal experience than ‘something more like obedience to a collective cause’. Translation might allow us to notice relationality and difference between cultures; but as a creative act in itself, translation also provides a discursive technology for intervention in structures of power. Often denigrated as secondary or indeed ‘women’s work’, translation occupies a precarious position in the ‘creative hierarchy’, and this is reinforced by vacuous proclamations about its joy. Whose joy are we reveering here anyway? What we need, Collins argues, is a more complex set of theories around translation, which bring into play its disruptive, ‘negative’ aspects. Her productive alternative to ‘fidelity’ or ‘faithfulness’ as the goal or logic for translation is that of ‘intimacy’: a translation process that ‘exhibits a heightened contextualisation of its source text for the reader’; one that bears with it the often fraught emotional truths around the act of moving between texts, times, cultural tones and affective states. Emotional truths whose discernment opens a space for seriously ‘affirm[ing] the possibility of change’:

As a proposed ideal for translations, ‘intimacy’ brings with it its own questions, problematics and risks. Ultimately, however, my application of the term is intended to shift the translation relationship from a place of universality, heteronormacy, authority and centralised power, towards a particularised space whose aesthetics are determined by the two or more people involved, in this way amplifying and promoting creativity and deviant aesthetics in translations between national languages. 

M.S.

‘On Translating Human Acts’ by Han Kang - By Deborah Smith in Asymptote

Han Kang plays language with the kind of near-unbearable intensity which Jacqueline du Pré applied to the cello, exploring its sensory possibilities through a continual detailing of the minutely physical—a bead of sweat trickling down the nape of a neck, the rasp of even the softest fabric against skin—which builds to such a pitch that even the slightest physical contact, no matter how intentionally tender or gently performed, is felt as violence, as violation.

As someone who works in the field, I'm always eager to read the translator's note before commencing my reading of the work. Translators' introductions, beyond outlining the context of any novel, tend to reveal the hyper-specific difficulties they faced when attempting to replicate linguistic nuances of the source language into the target language. In this case, one example given was the 'brick-thick Gwangju dialect', as Korean dialects are distinguished by grammatical differences rather than individual words. Looking to avoid 'translationese', Smith identifies that her primary concern was the effect the text had over the reader, rather than specific syntactic structures, aiming for 'a non specific colloquialism that would carry the warmth Han intended'. 

Already intrigued by Smith's introduction, and after having finished Human Acts, I continued my research of Smith, coming across much of the criticism she received by many academics for her translations of both The Vegetarian (she had been studying Korean for only three years before commencing this work) and Human Acts. In this essay, Smith takes us on a journey through the complexities and challenges she faced as a translator. One that really stuck out to me was the necessity to find as many possible synonyms for the verb 'to erase'. This word continued to resurface in the original often as a straight repetition. As Smith notes, Korean is 'far more tolerant' of this than English. I had once encountered a similar issue myself when translating a memoir based in one Rio de Janeiro's jails. The prisoners in that text frequently used the word 'parada', a local slang that can mean 'thing', 'business', 'occurrence', but is context specific. The heavy repetition of any of these options in English didn't read well, making the text clunky and awkward. Only through methodically finding specific synonyms to match with each context was I able to resolve this.

Out of all the nuances and subtleties Smith had to work through, none can be more thought-provoking than the title itself, 'Human Acts'. As Smith notes, a literal translation of the Korean would have resulted in the slightly awkward title 'The boy is coming', leaving her with the tricky task of finding a captivating title that retained the neutrality of the original. Read the full article to hear about which elements Smith had to keep in mind when deciding how to translate Kang's 'restrained Korean'.

M.P.

[irisalvarez2715]

HOW TO START A PRINTING AND PHOTOCOPY BUSINESS

Printing and photocopy business is a very lucrative business one can engage within campus environment, that is why streets in the campus is filled with so much shop where people can print and photocopy their work. Think about it, in some institution they are so predominant that it may seems as if there is no other business people can do than to print and photocopy but what surprises me most about this people is that they are always busy (all of them) do one printing or photocopy whenever I see them. To cover it up their daily revenue is more than just taking something little home as this people can still employ and pay people to from this daily income. I know married people who who take their family bread and and water from this business, what about people who in the same street have more than one doing the same thing, you say huh! If people can derive their family bread and water from printing and photocopy business, you too can make big earnings of which you have a better advantage than them been a student (I will tell you why in subsequent paragraphs). Let get started as we explore the possibility of setting up your own printing and photocopy business with little or no personal money. This is what you are about to read in this write up:

• Requirement for start up • How you will raise your startup capital (money) • Skills require for a startup (which is little or none) • How to get customers • Business opportunities • Value added features • How to maximized your sale • How to prevent your system from malwares • How to manage your academics with your business

REQUIREMENT FOR START UP To start a printing and photocopy business, you will need to acquire some garget to get going and let me tell you these, you may not necessarily have to get everything at the startup depending on your planned start up amount, I mean you can first start with essential paraphernalia and buy other needed material as business boast so I have choose to divided this part into essential start up requirement and others. Essential startup requirement include:

A Computer (a desktop or a laptop) A photocopier (or a two-in-one copier and printer) A printer A stapler A good antimalware software (e.g. Smardav usb antivirus, Avast, AVG) An A4 paper pack A COMPUTER? Yes, since you will need to open and edit (if needed) people’s file the computer before you can get it printed on a paper. You will a computer with desktop publishing programs installed and running on it, major form of these program include the Corel Draw, Microsoft Office (which will have MS word, PowerPoint, Access and Excel installed) and other programs like Photoshop… Get a computer is now easy as you can get a desktop computer (new) at very cheap prices between #12,000 and #20,000 and and cheap but quality laptops too. Moreover you may not need to start with getting new gadgets as you care buy goodly used computer at a very cheaper amount. A PHOTOCOPIER: you will require it to make carbon copy of peoples documents, photocopier is that machine you use to make a duplication of people’s document on another plain sheet. Getting a photocopier is now easy and an advantage is that you can buy a combined printer and photocopier (two-in-one) good quality and a very good price. The (Ricoh Aficio) printer I currently use is two-in-one, I got it for #28,000 thousand although I bought it in school area where electric gadget seems to be a bit costlier, meaning that you can get you on at a very less price. A sound of warning: never buy deskjet or inkjet printer if you don’t want to get frustrated with you printing business. Printing and photocopy is fun, I do it here in school but when it get to getting you hand stained with printing ink daily when refilling you print catridge and buy a #3,000 almost every two month, then frustration can start. Also most inkjet are slow and prints on printed material can easily be wiped off with little contact with water. A PRINTER: I can’t recommend one now but you can go out to price one yourself. I want to the HP1200 series printing but better printer exist which you may like. Note: to minimize your startup cost as I want to help you to, you can get used printer and photocopier which can outperform the new ones and pay half amount you will pay to acquire new one but mind where you buy you gadget. A STAPLER: a stapler is an essential item in starting up a printing and photocopy business although you will not be paid for stapler service but to prevent yourself from embarasement when customer ask for it you need to get one. Varous stapler exist, your choice determine what you have but make sure you buy enough pin along with your stapler. A GOOD ANTIMALWARE PROGRAM: you must get good antivirus running on your computer as most of your customers will have their on their flash drive and or memory card, some will come with external disk and even their phone. All this storage media are good source of getting you system invected and can lead to abnormalcy of you computer and destruction of your computer IC which and other destructive effects. You need to install USB antivirus in addition to the normal AVG or Avast, Northon antivirus e.t.c. as these usb antivirus are very fast to detect and immediately delete (depending on your settings preferences) any malware copied along with the files in this removable disk. A4 PAPER PACK: paper is your most important raw material, as you need it to make your printing and photocopy on it.

OTHER REQUIREMENTS:

A Flash Drive Spiral binder A shop Additional computer(s), Printer, (photocopier) HOW RAISE STARTUP CAPITAL Everybody have one or two money making ideas, its amazing when you see people talk about great money making opportunity with good enthusiasm but to find out that what prevent them from starting is the fact that they cannot get startup capital. What you should first know is that money is not always the first thing needed to start a business, many people with money have started business with huge amount of money but have failed in the aftermath, what do I mean, lack of money is only an excuse people used to cover up their failure to started an business. When you devote yourself to learning and studying the rule of the business you want to do (like what you are doing presently), you will automatic attract money source for your start up. Don’t ask me how this is going to happen I may not be able to answer that here but I am very sure it will. Now let us see how you can get money to starup your business. There is a slogan one of my secondary school teacher used to said then when I was in school, the slogan is simple, I heared, him say it over and over especialy whenever we are on the morning assembly, the slogan goes that “heavens help those who help themselves”; as simple as this life of phrase is it is highly applicable to generating income even if you will borrow from bank (of which I will not recommend borrowing from bank) as the bankers will require from varous documents of proof that you are already helping yourself before they can give out loan to you. This slogan depict that their heaven need be sure “who-is-who” and “what is what” before they give out their resources. Let me tell you this; you have the money you need for this business already, you only need to wake and prepare yourself to get them. Let me tell you a shot story of mine of how I was about to get #15,000 from an uncle who I never ask for anything from before, its simple. I made an estimate of how much I am going to need for the business and also how much I have at hand, and then send the overall estimate of asking him to support my business project with mobile sms after which I gave him a call. On the sixth day I received an alert of the #15,000 deposited into my account (mind you I have never ask him for anything before “thanks dear uncle”). But do you think it’s that simple no! I had been calling him (frequent a bit) before requesting for the support even before I came up with nourishing the idea of starting a business. I promised him to used the money properly in my text message I make him to know that I already have kept money myself for the business letting him know I was not passive about it. Back to our discussion you can raised capital by requesting suppot from: Your: uncle, aunt, brother, sister, your parents, your friends. Let them know how prepared, how knowledgeable you are about the business, tell them about your past business success, let them how sure of profit you are about the business. If you cannot trust your profit making ability then no other person will do that.

Source  How to Start a Printing and Photocopy Business