#me inserting parentheses within my parentheses when i talk

[discluded]

I'm so confident that if we're being ourselves without violating others, when we look back, even if we don't succeed in the entertainment industry, I still wouldn't regret a thing.

I’ve never regretted being myself." —Mile Phakphum

[phoenix-downer]

Kingdom Hearts 3 Ultimania - Interview with  the Destiny Trio VAs - Paopu Sharing Scene

Okay, a few things before we begin.

Miyu Irino (Sora’s VA), Risa Uchida (Kairi’s VA), and Mamoru Miyano (R*ku’s VA) have known each other for years. In previous Ultimania interviews, they have mentioned that they even went to Disneyland together after the recording sessions for KH2 I believe it was. For each of the numbered titles they’ve had an interview like this together, and KH3 continues the tradition. The KH1 Ultimania has an interview of them when they were still teenagers to give you an idea of how long they’ve known each other. They’ve spent much more time together for KH-related stuff than the English VAs for the Destiny Trio have.

The whole tone of the interview is very relaxed and they all seem to be having fun and teasing each other a little even. You can tell they all get along really well, understand their characters well, and build off each other well. Irino and Miyano in particular were very supportive of Kairi and talked about how they’d like to play a KH game as her. Irino even suggested a Destiny Trio game, and Miyano suggested Kairi be in the middle with Sora and R*ku following her. 

With that in mind, let’s get started. Usual disclaimers apply about how my own Japanese ability and translation abilities are still a work in progress, etc. Feel free to compare it to the other translations floating around to get a fuller picture. I may update my translation if I notice mistakes or things that need to be changed for clarity. R*ku’s name is starred out and has an asterisk inserted in the Japanese version so this won’t show up in his tag.

ー　カイリといえば、最終決戦の前にソラとパオプの実を食べさせ合うシーンもこころに残りました。

Interviewer: Speaking of Kairi, before the final decisive battle, the scene where she shares the paopu fruit with Sora also really stuck with me.

Notes: The phrase I translated “stuck with me,” kokoro ni nokorimashita, is more literally “stayed in my heart.”

Also, “shares the paopu fruit” is more literally “feed each other the paopu fruit” in Japanese, so I’m going to use that translation from now on. Just wanted to note that here because “share” is what the official English version of KH uses.

内田　私も、すごく大好きで大切なシーンであると同時に、（“重い”シーンだな……」と思っています。

Uchida: Me too. I really love (it), it’s an important scene, and at the same I’m thinking, “This is a heavy scene, isn’t it...”

Notes: It’s really nice to hear Uchida’s thoughts on the scene in question. I thought her performance was wonderful here.

入野　食べさせるパターンと食べさせないパターンの両方を録ったんですよ。収録時にはどちらの展開になる決まっていなくて、最終的に食べさせるほうが採用されたみたいですね。ふたりの気持ちをどこまで描くのか野村さんも悩んでいたんだと思います。

Irino: (We actually) recorded both a version where (we) feed each other (the paopu fruit) and a version where (we) don’t feed each other. At the time of recording, it hadn’t been decided which direction the development would go in, (but) ultimately, it seems like (the version where we) feed each other the fruit was used, doesn’t it? I think Mr. Nomura was also worried about to what extent (he wanted) to depict Sora and Kairi’s feelings.

Notes: the word I translated as “version” is literally “pattern” in Japanese. The “feed each other” is “share” in the English version of KH. 

Irino uses the particle yo at the end of the first sentence to indicate he’s imparting information to the interviewer (hence why I included “actually” in parentheses).

The word I translated here as “recording,” shūroku, can also mean “editing.”

“Which direction the development would go in,” is more literally something like “which one will become the development/progression” but I tried to get it to sound more natural in English. It was a bit hard for me to parse, to be honest.

I used “doesn’t it?” to translate the ne particle at the end of the second sentence because it’s generally used to indicate someone is seeking affirmation/agreement. There was no question mark in the original Japanese version.

“Sora and Kairi’s” is more literally “the two’s,” but I changed the wording to make it sound better in English.

I added in “he wanted” in the last sentence to make it flow more smoothly in English, but it isn’t in the original Japanese version.

宮野　ソラとカイリの純粋な想いが表れている繊細なシーンですからね。あのやり取りは、見ていてときめきます。彼らは自覚していないでしょうけど恋心がなかったら、あんなにときめくシーンにはならない（笑）。

Miyano: It’s because it’s a subtle scene that expresses Sora and Kairi’s true feelings, isn’t it? When (you’re) watching that exchange, (your) heart pounds/flutters. They probably aren’t aware (of it) themselves, but if there isn’t (any) love/love awakening, then it wouldn’t be such a heart-pounding scene (haha).

Notes: The word for “true” here, junsui, can also mean “pure, genuine.” The word I translated as “feelings” is omoi with the kanji that tends to be used for the feelings sense of the word. “Subtle” can also mean “delicate, sensitive.” 

I used “isn’t it?” to translate the ne particle at the end of the first sentence because it’s generally used to indicate someone is seeking affirmation/agreement. There was no question mark in the original Japanese version.

The word for “heart pounds/flutters,” tokimeku, can mean a number of things according to the handy-dandy jisho.org: (a heart) beats fast, flutter with joy/anticipation, throb, pound, palpitate, etc. It doesn’t seem to have the same connotation of danger that the English “heart pounds” sometimes does though. Think of it more like “heart flutters,” “heart beats fast,” that sort of thing. The connotations, or feelings and ideas the word invokes, are somewhat different from the English phrase “heart pounds,” which brings me to my next point.

The word I translated as love/love awakening, koigokoro, can also mean yearning for or missing someone or potentially even a heart in love. Again, the Japanese word has a different set of connotations than the English one. That’s what makes translation so tricky; for more abstract concepts in particular, a translator can introduce a whole host of connotations that were not present in the original language and/or can lose some of the meaning implied by the original language as well.

The last sentence (where Miyano talks about why the scene makes your heart flutter) I’m feeling a little iffy on, but I think I got the general gist of it, so let’s continue.

入野　でも、食べさせ合うことが「恋心を持っている」という明確な答えではないと思うよ？

Irino: But, I think that feeding each other (the paopu fruit) isn’t a clear/precise answer (as to whether/that means) “(they’re) in love?”

Notes: The phrase I translated as “they’re in love,” koigokoro wo motteiru, is more literally something like “have a heart in love,” “have love,” “have a love awakening.” Not 100% on this and I think that’s where a lot of the confusion is coming from.

(As to whether) isn’t in the Japanese version at all, I just added it to make the sentence smoother. From what I can gather, Irino uses the toiu pattern in this sentence to define the kind of answer he’s discussing - “a clear answer that means (they’re) in love” kind of a sense.

I added in the pronoun “they” because English requires pronouns... but not Japanese, and there is no pronoun here. It’s sort of ambiguous... he could be referring to Sora and Kairi sharing a paopu in particular, or paopu sharing in general. In context, since they’ve been discussing the scene where Sora and Kairi share it, I’m going to go with the former, but I’m not 100% on this.

The question mark comes after “I think?” in the Japanese version, but Japanese has different word order than English, so it got moved to the “(they’re) in love” part of my translation.

Irino is saying he doesn’t think there is a clear answer... not that the paopu sharing isn’t romantic at all. This can’t really be used to disprove that Sora and Kairi are in love; he’s merely saying he thinks there is no clear answer when it comes to sharing the paopu fruit. From what I can gather, he also isn’t necessarily commenting on the legend of the paopu fruit itself, just Sora and Kairi sharing it in this particular scene, but I am less certain on this. 

We need to be careful when examining this sort of thing because context matters. And when you think about it, it makes sense within the context of KH3 itself. Sora has his love epiphany in the light in the darkness scene later on, not here. Miyano picked up on this and noticed that while Sora and Kairi might not yet be aware of how they feel about each other in the paopu sharing scene, the viewer certainly is. 

And man... that light in the darkness scene. By the end of that it’s obvious both Sora and Kairi know how they feel about each other. 

All that handholding...

...those held gazes...

Sora literally seeing the light...

...and then looking at Kairi as she gives him a knowing look, like “figured it out, did you? I’m in love with you and this was my act of true love.” 

AND THEN THE SMILE ON HIS FACE AFTERWARDS!

Going back to the interview, Miyano is very quick to correct Irino. He clearly thinks there is a clear answer even if Irino isn’t sure if there is!

宮野　いやいやいや、だって、そもそも俺、カイリからお守りとかもらってないし……。

Miyano: Now hold on just a second here. Okay, first of all, I don’t get (things like) a charm from Kairi (among other reasons)... 

Notes: I changed the wording around to make this sound more natural in English. Miyano says something more like “no no no” at the beginning to indicate he is strongly disagreeing, then a very emphatic “but,” then “from the beginning I, / in the first place I,” maybe? I tried to go for the overall gist of what he meant instead of the literal wording. The “I” actually groups with somosomo, so... I’m having a little trouble parsing this part here, but the takeaway is that he’s disagreeing with what Irino said. 

Also, I love how he’s the one to point out that Sora got a special gift from Kairi and R*ku didn’t. He’s also saying this isn’t the only reason he has for thinking how Sora and Kairi feel about each other is pretty clear by using the -shi construction, which is used to give reasons.

He also identifies himself with R*ku by using ore, the masculine pronoun “I”, which also happens to be the pronoun R*ku uses for himself. In another part of the interview Miyano used the more polite masculine pronoun boku to refer to himself. He really loves and understands his character to the point he’s speaking as if he is R*ku here, and it’s pretty awesome.

入野　約束のお守り？

Irino: Oathkeeper?

Notes: the name for Oathkeeper is a bit different in Japanese. It’s more literally something like “promise charm.”

内田　ごめん！（笑）

Uchida: Sorry! (haha)

Notes: Uchida laughing here shows how playful the whole exchange is. They’re having fun and they aren’t taking themselves too seriously.

宮野「KHI」のときにも、俺に内緒でふたりだけで島を出ようとしてたでしょ？

Miyano: In KHI as well, you kept it a secret from me that just the two of you were trying to leave the island, (right)?

Notes: “right” more literally means something more like “wouldn’t you agree,” but I changed it to fit the register Miyano is currently speaking in here. And again, he’s speaking like he is R*ku, using “I” to discuss what happened instead of R*ku’s name. 

Speaking of which, he remembers what happened well, haha. Could it be that R*ku’s still a little upset about it? ;) 

Also, I love how Miyano is basically teasing the two of them here. Again, you can really tell how well he understands R*ku as a character. R*ku teased Sora hard about his feelings for Kairi in KH1. Seems like that hasn’t changed.

入野　もしかしたら、リ*クを闇に向かわせたのはカイリなのかも。ソラと仲良くしているカイリを見て、リ*クは孤独を感じちゃってたんじゃない？

Irino: Maybe Kairi caused R*ku to turn to the darkness. He saw how well she was getting along with Sora and felt lonely, didn’t he?

Notes: The word for “maybe” here is kamo, and it can also be used to mean “might” or “perhaps.” I get the sense it’s not quite as strong as “maybe” is in English. Irino is just indulging in speculation here.

The second sentence is more literally something like “(R*ku) saw Sora and (a) Kairi who is getting along well with him, and he regrettably felt loneliness, no?” but I switched things up to sound more natural in English. 

Again, this is just fun speculation. I don’t think we can really say Irino is actually blaming Kairi for R*ku’s fall to the darkness, because the tone of the interview matters, and it was very relaxed and fun (while still professional, of course) and this part in particular is very playful.

And... when we look at KH1 itself, yeah, you kind of do get the sense that R*ku was jealous of Sora, and in KH2, he even admits he was. R*ku is both Sora’s best friend and, at times, his rival (which this very Ultimania pointed out in R*ku’s profile), and to me at least R*ku seemed to be crushing on Kairi in KH1. It’s not much of a stretch to think his jealousy as Sora and Kairi got closer and closer might’ve fueled the darkness in his heart.

内田　……そうか、私のせいだったのか（笑）。

Uchida: ...You’re right, it was my fault (haha).

Notes: “You’re right,” sōka, is more literally “oh, I see” or “is that so?”

Again, this is a teasing, playful joke, and Uchida plays along, indicated by her laughter there at the end.

That concludes my translation of the paopu sharing scene in this interview. Hope that helped clear things up!

Edit to add: too late to fix it now, but by “Disneyland” I mean “Tokyo Disneyland.” The three of them went to Tokyo Disneyland together :)

[kristen-lockhart-blog]

Book Review of “(Im)Proper Nouns” by Donna Sparrowhawk

https://www.facebook.com/permalink.php?story_fbid=2534067513341256&id=135308913217140&__tn__=K-R

Kristen Lockhart (Im)Proper Nouns By Donna Sparrowhawk Book Review

In the collection of poems, (Im)Proper Nouns, poet Donna Sparrowhawk utilizes an effortless flow and rhythm within and between her poems. Some of my favorite literary tools she uses throughout her poems are imagery and metaphors. Her collection is split into three sections, that are the nouns persons, places, and things. The poems within each section complement each other nicely as well as the three sections to form the whole collection. Sparrowhawk’s themes and imagery gives insight to a well-rounded and fulfilling life so far as well as holds hope for a fulfilling life to come. In the section titled Persons, Sparrowhawk has an array of poems, some dedicated to someone by use of their name, others with a more metaphorical title. The poem “Even Now I Listen,” is a pretty straight forward poem about the speaker’s dad. I really appreciate the glimpse into the speaker’s relationship with her father growing up. She hones in on the relationship between her and her father through her diction and metaphors.

“I know what tone you would use Soft, sliding your words under The door of my pain-induced silence.” I like the imagery that this stanza creates. I imagine a teenage daughter distraught and not wanting to talk to anyone, but her dad is the one who can truly reach her in these times. As if gently whispering through the crack of her door or sliding a letter with some heartbreak advice on it. In the last stanza, the speaker is reminiscing on times when her father could give her advice in person.

“Would you lift your eyes to mine and gently with your Fatherly tenderness, sweep the hair fallen in my eyes Remind me

To lessen fear…love more.”

She is admittedly fearful and doubtful of something throughout this poem. Perhaps, felt she was not ready to take on some things in her life without her father always being right there with her. All she has is these memories and can only imagine the advice that her father could give her now. Because of the vulnerability, I feel like this poem is a lovely and intimate glimpse into the speaker and maybe even the poet’s life. Moreover, in the poem “Not Quite a Sonnet for Susan on Her Sixtieth Birthday,” Sparrowhawk has a very compelling free form as well as great diction to portray the speaker’s feelings towards “Susan.” The poet reflects on her own use of form in which she originally intended a sonnet that actually became a free form poem.

“I tried to write you a sonnet for your birthday… abab cdcd efef gg but the fact of the matter is you are definitely free verse and otherwise and wise.”

She admittedly switches gears from a sonnet form to a free form. Moreover, I like the analogy of comparing her friend, Susan, to a free form poem herself. As well as the wordplay in “…you are definitely free, verse and otherwise, and wise.” Moreover, she utilizes lots of little comments inside of parentheses throughout the poem.

“extraordinarily fun deliciously irreverent outlandishly chi-ful (and I love it that you know what that means)”

The use of her parenthetical inserts creates more intimacy between her and the friend receiving this gift. She adds some fun, witty inside jokes and personality. And the way she describes Susan; the words she uses, “extraordinary, deliciously irreverent.” She is describing a deep admiration of everything that makes Susan the way she is. While keeping few elements of a sonnet throughout the piece, the author iterates that her Susan cannot be described in any one form. She reminisces on the first time they met recalls specific details with her imagery and describes the instant connection the friends had. I love the final line of the poem, comparing Susan to a child, having the same whimsy and wonder as a newly Sixty year old woman. And ending the poem on an ellipse as to say that her and Susan’s friendship and story is far from over. Much like in the poem about her father, the speaker creates an intimacy between not only her and the person the poem is dedicated to, but also her and the reader. She does so through the use of parentheses, her imagery in describing her memories, and her witty metaphors. The first poem in the “Places” section of the book is one of my favorites called, “Musings on a Train.” I find the setting of this poem so refreshing. She truly captures what it is to feel like you are in the story itself with this poem. “I glance out as sheep newly shorn And young, bolt as the train Whistles, and the old ewes lazily graze, Ignoring the fray.”

I am fortunate to have ridden on a train in England as well, especially as someone who lives in Florida with very few, if any, passenger trains. This poem describes to calm whimsy of riding on a train traveling past hills and grassy fields. A quite relatable stanza in this piece, is as follows:

“I doze in strange comfortable discomfort Drifting in and out, nestled against my Ferdinand’s Jacket, crumpled on the table under my head.”

Though, not all readers might have had the experience of riding a train, the images she creates can certainly come to life in the reader’s imagination. I particularly love the phrase, “comfortable discomfort,” to describe falling asleep on a train. Again, maybe not all readers would know this as exactly as described, but I feel like the sensation of trying to fall asleep on a bus or car even, can be a strangely calming scenario in a not quite so comfortable vessel. Especially if you are riding in said vehicle with a loved one. The scene described in this poem is that of a comfortable, daily event that is intimate between the speaker and a loved one. Sparrowhawk’s imagery allows the readers a glimpse into the speaker’s life because of her descriptions of this sweet life. Another one of my absolute favorite pieces is “Ballad of Equeurdreville.” Sparrowhawk’s effortless rhyme scheme creates a hilariously witty and whimsical story in this poem. I love how while reading this poem the reader gets a scene laid out in front of them of this funny banter between a traveling couple.

“My, what a pleasant urban walk! said he As she dodged the biker […] I’m sure my mate said repast was just beyond this hill A lovely place for dinner, in lovely Equeurdreville.

Why, yes, my love! cooed she to he Somewhat loudly over the roar of the passing lorry.”

From the very first line, the setting is being described as “urban” and disruptive with the biker needing to be dodged, as well as the “roar of the passing lorry.” Yet, the positive attitudes of this couple is already creating a humorous build up.

“I fear a restaurant I will never see, said he. Her reply reassuringly whispered, perhaps more a shrill— Do you think we’ll ever bloody find this Equeurdreville?”

“[…] I dare say one can look from here to eternity, said he. But no sign, no hope of food, nor drink—no, nada, nil In this, this, uh…lovely…Equeurdreville.”

The couple have a shift in attitude the longer it takes for them to find this restaurant. I particularly love the last line of that stanza; it makes it seem like a sassy narrator is reading this poem aloud to the reader. “Oh my, said she. Oh my, indeed, said he As they walked and pondered what was the key Don’t know, said she, but make out a Will Next time you suggest to me Equeurdreville!”

The final stanza after the couple had finished their long awaited meal in Equeurdreville, we get the final round of witty commentary. The poem ends on a silly joke as well, adding to the fun nature of the rest of the poem. This poem reminded me of the whimsical ways of rhyming of Dr. Seuss. This poem is different from the other poems in the collection due to its playful theme. Yet it still holds the particular style especially when it comes to Sparrowhawk’s romantic diction and intimacy between characters. The contrast in playfulness from this poem compared to more mature themes in other poems, as well as her consistent rhyming scheme shows how talented and versatile Sparrowhawk is with her writing. Finally, in the section “Things,” there is a poem entitled, “Twilight,” that has just more of that calming scenery that Sparrowhawk paints.

“It’s that time of day again… The light, in its fade Softens… Well, softens Everything.”

This opening stanza creates such a lovely setting with just a few simple phrases, which is magical. I also love the third stanza continues with this serene imagery and the fourth begins to introduce another theme into this poem.

“I wonder if the fox Will make his appearance tonight Now that you, Not I, Are absent.

“I’ve missed you today I should have been with you today, But, painfully I really couldn’t Because we You and I Know how to love.” The speaker is describing beautiful scenery yet is lonely or missing her loved one. Yet, I gather this is the type of missing someone when they are just out for the day, perhaps at work.

“I know you are on your Way back to me now.

Warm soup is waiting And music, and me,

The words can wait.”

The lines of her poetry feel comfortable and familiar. Sparrowhawk has been able to take sorrow in her poems such as this one and spin it around into hope. This entire collection of poems by Donna Sparrowhawk reflects on a life filled with beauty and love for these persons, places, and things. She uses wonderous imagery and metaphors to describe these loved ones and locations in such intimate detail. The warmth, wit and charm in her words are the ties that carry over and connect all her poems in this collection, (Im)Proper Nouns.

[thatsparrow]

rules of the game - chapter nineteen

SUMMARY: Your breath is catching in your lungs and your heart is pounding so hard in your chest you feel like your whole goddamn body is shaking. Your world has narrowed to the anger and fear-induced tremble in your limbs and the rough and relentless hold of Negan’s fingers on your skin and the amused, expectant look he wears on his face as he looks down at you.

Fuck, fuck, fuck  — 

–

After saving you and your group from a pack of walkers that would have guaranteed your death, Negan has you down on your knees with a barbed-wire wrapped baseball bat in your face and a decision to make: surrender everything you own over to the Saviors, or join the Sanctuary and agree to work for him.

And even though he’s acting as if you have options, there’s really only one choice you can make.

FANDOM: The Walking Dead (Comics), The Walking Dead (TV) CHARACTERS: Negan, Original Female Characters, Original Male Characters, Lucille, Saviors ADDITIONAL: Reader-Insert, Mild Gore, Slow Burn, Road Trips

[read on AO3]

[first chapter]

Your shadow is a smudge beneath your shoes when you get out of the car, a black brushstroke of paint sitting under your boots as you stand in the weeds on the shoulder of the road. After following the same two-lane highway for the past fifteen minutes or so—blindly trusting Negan's intuition after he’d turned off the main road—the two of you had pulled off the cracked blacktop and parked the Ford under the shadow of the trees bordering the pavement. By now, you figure the serpentine stretch of tarmac must have wound its way behind the town you’d left this morning, putting you at the intersection of—god willing—the path Chase might have taken after he left.

That is, if he even made it out at all.

“Alright, sir," you say as you lean back against the closed passenger door, throwing the words over your shoulder to where Negan is pulling Lucille from the backseat. “What’s the plan?”

“Best start praying to whatever god you believe in, sweetheart.”

You turn on your heel, letting your elbows rest on the roof of the sedan as you look Negan’s way.

“That an order?”

“Consider it a friendly fucking suggestion,” he says, glancing up briefly to meet your eyes. “Given that Plan A is to comb through miles of woods and back roads for some dumb fuck who does not fucking want to be found, I’d say praying would be a smart first step.”

And you don't really have a response to that, so you settle for checking the gun at your waist and the knife at your—

“Oh, goddammit.”

“Fuck’s the matter?”

You look up at Negan, giving him a smile that has nothing to do with amusement and everything to do with your own thoughtlessness.

“My knife,” you say, frustration sharp in your words like broken glass buried in a sandbox. “I dropped it back in the CVS. Fucking of course.”

“What about the gun?”

“Still works fine, far as I can tell. Out of bullets, though.”

Negan gives you a brief nod before rounding the car to pop the trunk, pulling the supply bag from the back and dropping it at your feet.

“There’s a box of ammo in the bag — might as well reload while we’ve got the time.” He flashes an easy smile as you kneel down to unzip the duffel. “Surprisingly enough, that gun ain’t actually too fucking useful without any bullets.”

“Well, shit. You don’t say.”

You’ve got your head lowered and fingers busy reloading the gun as you respond, not even bothering to look up at Negan as you toss out the words on an impulse. And with his face out of your frame of vision, there’s a moment where you have to wonder if your sarcasm just crossed another line. But then you hear him let out a slight laugh—that low, back-of-the-throat chuckle that spills out like sap dripping from a maple—and it’s a reflex to let the corners of your mouth turn up as well, a slight smile sitting on your face like a sideways parentheses.

With the gun reloaded, you zip the bag shut and pull yourself back to your feet, tucking the metal piece into the waistband of your jeans.

“Ready to go?” You ask, loading the supply bag back into the trunk and clicking the latch closed.

“Just about,” Negan says, setting Lucille down against the side of the car before his hands reach down to his belt buckle.

“…For the record,” you say, tone dry like blistered sand as Negan undoes the metal at the front of his jeans. “When I asked if you were ‘ready to go’, that’s not really what I was referring to.”

“Mind out of the gutter, sweetheart,” he says, looking up at you with an amused expression as he pulls the leather out of his belt loops until he’s unhooked the knife holster hanging at his hip. As easy as anything else, he extends the sheath in your direction, handle pointing towards you.

“What’s this?”

“It’s a knife,” Negan says, one eyebrow quirked. “Didn’t think that part would need elaborating.”

“It’s your knife,” you say, brows drawn together slightly in response. “Why are you giving it to me?”

“Think of it more as a loan than a gift.”

“Don’t you—fuck, I don’t know—need it?” The words feel hollow as soon as you say them, especially with walker blood puddling on the cement around Lucille's barbed-wire barrel. Still, this is Negan's knife you're talking about, and you can't even begin to reconcile the image of that weapon in your hand.

Negan rolls his eyes, setting the blade and holster on the back of the sedan as he rethreads the leather of his belt back through the loops at his waist. “Fuck’s sake — listen, sweetheart, we both know that out here, you only pull a gun when you’ve hit your very worst case scenario. I’ve got Lucille while you’ve got one handful of ‘jack’ and another handful of ‘shit’. You need a knife, I have a spare. It’s not fucking complicated.”

“You sure—“

“You know, all of this sounds an awful lot like you questioning me. That what’s happening right now? You really gonna throw a fit and blow your shot over me trying to do you a good turn?” Negan shakes his head slightly, wearing an exasperated look you were sure was reserved for someone looking after a three-year-old.

“No, sir,” you say, tone hesitant but compliant as your fingers close around the hilt of the knife.

“Fucking better,” Negan says, picking up Lucille from where he'd left her leaning against the tail lights. Feeling like a kid playing dress-up, you weave the holster onto your own belt, painfully aware of the almost too-heavy weight of the blade at your hip and how laughably oversized it is on you, built more for gutting something feral or fitting into the palm of someone like Negan. Still, you can’t deny there being a certain comfort in that serrated edge—sharp like sharks’ teeth—sitting just within hand’s reach.

“Now that we’ve got that fucking ordeal over with,” Negan says, swinging Lucille up onto his shoulder, “time to get moving.”

“All joking aside, what is the plan here?”

“Jokes aside? Christ, sweetheart — the fuck is the fun in that?”

You don’t respond, choosing instead to fix Negan with an unamused look.

“Always so serious,” he says, not entirely under his breath. “Well, seeing as how this has all been one big fucking game of guesswork so far, why the fuck stop now?” He looks up and down the road for a moment, consideration lingering briefly in the lines of his face.

“Here’s the way I figure it — assuming loverboy headed out of town moving away from the direction of the Sanctuary, assuming he headed in a relatively straight line, and fucking assuming nothing killed him on the way, he should’ve ended up roughly here. But all bets are fucking off whether he decided to keep going through the woods or stick to the road.” Negan frowns slightly, exhales like he’s still trying to make sense of his thoughts. “Current plan—or as close to a plan as I can come up with—we’ll check the woods and see if we can find some sign of him. If not? Keep heading down the road and hope we pass him. We still come up with fucking nothing? Stop the car, rinse, fucking repeat.”

It hits you at that moment how completely fucking pointless this is. Honestly. Because you can’t come up with a plan better than the one Negan just proposed and because you’re no damn tracker and, short of a sign in neon spray paint, you’d never recognize a trail Chase might’ve left through the woods. Truth is, you’re running pretty damn low on hope right now, your reserves of optimism like a gas gauge ticking steadily towards empty.

But, however slim it might be, there is still a chance of finding him.

And—fuck it—you’ll hold fast to that slender string even as it frays like unraveling thread in your palm. Wrap your fingers around the last scraps of optimism you can see, even as you gain nothing more than a handful of paper cuts.

“All sounds good to me,” you say, wearing a smile that doesn’t reflect how you feel. Tone cautiously light because fuck letting Negan know that all his negativity and realism might be getting to you. “You ready?”

“Might as well get fucking to it.”

And, hand hovering loosely at your side, Negan’s figure the overwhelming factor in your periphery, the two of you head side-by-side into the trees.

Predictably, the next few hours turn up less than fucking nothing.

Which, all things considered, is about what you expected. Chase's trail went cold the minute you chased the wrong voice down the wrong road, and ever since, you’ve been clinging to a train of reasoning that amounts to little more than finely woven bullshit. He didn’t leave a trail because he doesn’t want to be found. He didn’t bother with breadcrumbs because he’s more than ready to lose his way — because as far as he’s concerned, his story might as well end in a witch’s oven.

At this point, who are you really still searching for? Who is this really about?

Are you actually out here for Chase, or are you doing this for yourself?

The sun is starting to sink like a deflating balloon when you reach a signpost for another town a few miles up the road, the first indication of anything established since you’d gotten back on the highway. And it’s as close to a lead as the universe is willing to offer, more of a sign than any of the crushed leaves and broken branches you’d tried to pretend to make sense of when you and Negan had explored the woods.

“What do you think?” You ask Negan as the Ford passes the sign, metallic backing shrinking quickly in the rearview.

“Guess it wouldn’t hurt to check things out,” he says, tone unreadable. “If nothing else, sundown’s a little too fucking close for comfort and we need somewhere to hole up for the night.” His eyes flick down to the clock on the dash, one hand coming up absently to trace a line over his jaw. “Can’t do jack for loverboy tonight, but we should have time to find something a little fucking better than sleeping in the fucking car.”

“Not like I’m complaining,” you say, taking the time to stretch the stiffness from your shoulders. “I can honestly say I’ve spent enough nights in shitty backseats or the goddamn trunk to last a lifetime or two.”

“Fucking amen.”

The shadows are starting to stretch a little too long across the pavement when you finally reach the town, the main road cutting through a small strip of quiet downtown as the sun finishes its final descent below the trees. And it looks quiet enough—empty streets and abandoned cars parked against the curb and the occasional silhouette or two of a walker—but you’ve been running these lines long enough to keep your guard up as the wheels of the Ford ease over the tarmac. Not a thought but a habit to keep your eyes skimming across the storefronts, ears tuned for the sound of an undead cluster hidden down an alley, muscles tensed and ready for the worst.

But things seem alright, and even if you know how deceptive that can be, it’s getting late and you and Negan need to start making some quick decisions. Keeping close to the main road, he turns the car down a side street and parks parallel to one of the buildings, windows un-shattered and walls mostly free of bloodstains.

“We’ll head in through the back door,” Negan says as he turns off the ignition, inclining his head towards the brick facade. “Don’t want to spend the whole damn night clearing the building, but it looks secure enough so fingers-fucking-crossed it doesn’t take too long to deal with whatever shit is waiting inside. Grab the supply bag from the trunk and follow my lead.”

“Yes sir,” you say, voice slightly absent as your eyes skate a restless back-and-forth over the building, tracing a path between the windows while you look for those familiar signs of trouble. But the shades seem undisturbed and you can’t spot anything worse than a thick layer of grime and you find yourself a little less tense as you climb out onto the sidewalk, fingers hooked around your backpack straps. You can see Negan's silhouette as you make your way to the trunk, pulling Lucille and his own shit from the backseat as you unlatch the back and hoist the duffel over your shoulder. Hanging back a few paces, you follow his footsteps across the sidewalk and over to a side door set into the bricks, playing lookout as he works at the hinges stuck fast with rust. And then the door is creaking open—a little louder than you’d like—and it’s nothing but dim shadows and faint outlines and the beam from Negan’s flashlight cutting through the dark like the bright white warning of a lighthouse.

“Ready?” He asks over his shoulder, voice low, adjusting his grip on Lucille as your hand drops down to the hilt of your borrowed knife.

“Ready enough.” You answer in a similarly quiet tone, eyes glancing up only briefly to meet his.

“Then tally-fucking-ho.”

And with that, there’s nowhere to go but forward.

It’s not the first time you’ve had to do something like this, but you wouldn’t still be breathing if you’d let repetition erase your instinct for fear — if you’d become numb to the sensation of standing on this tightrope. Staying alive has never been anything less than a balancing act, and you’ve seen too many slip off that wire from not giving the undead their due.

Cities don’t get decimated by an inconvenience. The whole fucking world doesn’t fall by the hands or teeth of something inconsequential. There will always be so many more of them than there are of you, and the day you forget that is the same day you pull the pin of a grenade and drop the explosive at your feet. At that point, dying is only a matter of time.

And you can feel that same sharp edge of uncertainty in your stomach as you tiptoe on bloodstained boots into the shadows, that familiar bitterness on the back of your tongue. But you’ve got the broad shoulders of Negan’s frame standing in front of you like a battering ram, and you’d be lying if you said you didn’t feel a little more secure—Jesus, a little more safe—with him there.

You can’t tell whether it’s funny or unsettling, that you could put Negan and safe in the same sentence without the trace of a joke. And, honestly, you’re not sure you really want to find out which one it is.

It doesn’t take long to sweep the two-story building, for you and Negan to trace a Pac-Man pattern through the back offices of the small accounting firm, taking out a few walkers still outfitted in their pencil skirts and button downs, knotted ties hanging loose around withered necks. But other than a low-lying feeling of sadness—an occasional sting at the sight of family photos pinned up on cubicle walls—the building offers no surprises and soon the two of you are setting up camp in the break room on the second floor. And as far as small-town break rooms go, it doesn't offer much — walls painted an unexciting shade of taupe and secondhand appliances on the Formica countertops and coupons pinned to the refrigerator with cheap magnets.

Still, you’re thankful for its relative cleanliness. Even more thankful for the windows offering a vantage onto the street, and for the couch sitting along one of the walls, weathered cushions parallel to a couple half-empty vending machines. And with a couple battery-powered lanterns and flashlights suffusing the room with a dim glow, you could almost call it homey.

“Got any preference for first or second watch?” Negan asks after the two of you eat a simple dinner, stretched out on the sofa with his boots propped up on one of the armrests.

“You’re really giving me a choice?” You say, tone skeptical as you sink down into one of the chairs around the break room table.

Negan gives you an easy smile in response, sitting up just enough to shrug out of the sleeves of his jacket. “Not like it does me any good if you pass out halfway through your shift. Remember, sweetheart, my first interest is always in keeping myself alive.”

“At least you're consistent,” you say, answering the amusement on Negan's face with a wry look of your own. “I’ll take first shift then.”

“Fine by me.”

It’s quiet as the two of you settle in — you cleaning walker gut off the knife blade with take-out napkins from one of the drawers, Negan shifting slightly on the couch cushions.

“Hey, can I ask you something?” You've still got your head down as you throw your question to the room, almost like you're talking to the blade in your hand rather than the man on the sofa.

Negan doesn’t bother turning to look your way, but you can see that half-smile curving up the corners of his mouth at your words. “Shoot.”

“It’s not like you really want to be out here, right?”

He tilts his head in your direction, tone even as ever. “Fuck’s that supposed to mean?”

It’s a thought that’s been sticking in your mind for the past couple hours, a curiosity crystallized at the sight of Negan’s tall frame stretched out over a too-small makeshift bed.

“It’s just…” you break off, eyes dropping down as you try and figure out how to phrase it. “You can’t be enjoying this — you can’t be wanting to put up with this shit. You don't, do you? Wouldn't you rather be back at the Sanctuary?”

Negan props himself up on one arm, gives you a steady look that’s equal parts patronizing and exasperated.

“What are you trying to ask here, sweetheart?” He fixes you with a level stare, eyebrows arching up slightly. “You're really wondering if I’d rather be here — freezing my fucking balls off on a beaten-up couch with more stains than a motel bedspread, or back in my apartment — lying on silk sheets in a king-sized bed getting blown by one of my wives.” He inclines his head towards you. “That the question you need answering?”

You duck your head for a moment, sure there’s a slight flush in your cheeks as you meet Negan’s amused look. “I mean, I probably wouldn’t have phrased it in exactly those terms — but, yeah?”

“You honestly telling me you cannot figure that one out for yourself?”

“Then why are you here?” You ask, the words blurting out before you can think better of them. It's tempting to look away, but you make it a point to keep your mouth set in a firm line, to meet Negan's eyes as he watches you with an expression you can’t quite parse.

“Curiosity is a dangerous fucking thing, sweetheart,” Negan says at last, the weight of his gaze heavy as you shift slightly in your seat, one knee pulled up to your chest. “One of these days it might get you into trouble.”

“Is that day today?”

It's heads or tails whether he'll answer with anger or amusement, and you feel nothing but relief as he lets out a slight laugh at your words, the tension dissipating from the room like water slipping down the drain. And you can see him smiling, seeming in spite of himself, as one hand comes up to massage his temple.

“Fucking christ — you do not know when to quit.”

You're tempted to say something else, but you wait, almost certain that Negan's got a few more words waiting on his tongue. And you can't tell what it is about this moment—whether it's the lack of adrenaline in his system or the simple fact of having his feet up that's got him so relaxed—but you're somehow sure that you haven't burned through his reserves of patience just yet.

As if acting in response to your thoughts, Negan pulls himself upright, back propped up against the armrest and shoes sliding to the carpet as he shifts his body until he's facing you. "Do not fucking take this to mean that I value your persistence, or some shit," he says, giving you a disgruntled look that doesn't feel genuine, "but purely in the interest of getting you to shut up so I can enjoy a few fucking moments of peace and quiet — fine, I'll give you two reasons why I'm out here in Bumfuck, Nowhere rather than sitting pretty back at the Sanctuary.

"Reason number one, sweetheart — I'm still here because I am a man of my word. And that doesn't just extend to bargains or threats with communities who have more canned goods than common sense — no, that holds even for two-bit deals with stubborn fucking assholes who don't know well-enough to stop fighting, even when they have got nothing left."

Indignation rises like a reflex in your throat, but you're the one who asked for his words. You don't get to bite just because you don't like what he's offering in his right hand. And you're sure he can see the way your shoulders tense under your jacket—because he's Negan, and because the smiling bastard always seems to read you better than the big, bold text of a billboard—but he doesn't address your reaction, letting the moment go with nothing more than a half-smile and continuing on that same train of thought.

"I'm still here because I made you a deal and—like your very own fairy fucking godmother—gave you three days to get shit done and because your time isn't up just yet. And while I have not and will not keep it a secret that I find this whole fucking endeavor an exceptional waste of time, as long as you decide to stay out here and haven't hit the deadline, then I am not going fucking anywhere."

Something about his words isn't entirely satisfying, but you know you're lucky to get whatever scraps of truth he's offering.

"And the second reason?"

At that, the half-smile on his face widens into a full-blown grin.

"Plain-and-fucking-simple, sweetheart — because fucking shit, do I want that favor you're offering."

You can't help but feel a little hesitant under the look he's giving you, one that suggests he knows something you don't, like he's read ahead to the end of this chapter and is laughing at the punch line you can't see coming. "You do know I don't really have anything to give you, right?"

Negan just lets that smile linger, the one that always manages to stir goosebumps from your skin. "Wouldn't be so sure of that."

"Should I take that to mean you've already got something in mind?" You want to deliver your words in his same easy tone, but you can't help the slight furrow in your brow or the uncertain edge in your voice.

"Not about to start giving away all my secrets, sweetheart," Negan says, shifting on the sofa until he's lying down again, one arm resting under his head. "Let's just say I've got a couple ideas."

"Anything I should be worried about?" You don't really expect him to respond with any kind of honesty, but your common-sense can't hold back the questions that curiosity has left on your tongue. Besides, by now you know Negan well enough to be cautious of the thoughts he's hiding behind his Cheshire cat smile.

"Guess that depends on what might give you cause to worry."

He's not giving away anything in his tone, but you can't help the places your mind goes at his words — the train of thought you take to all the worst things he could ask of you.

Then—surprising you in the most embarrassing and unwelcome of ways—to the things he could ask for that you're not entirely sure you'd object to.

As if Negan can see the medley of images in your mind's eye like he's flipping through hotel channels, he smiles up at the ceiling. "So tell me, sweetheart — the fuck is it that's got you so wound up? What do you think I want from you that's put such a twist in your panties?" You can hear the grin in his words clear across the room, the one that seems to suggest he knows exactly what's made you fall so silent.

You can feel the flush in your cheeks burn a little hotter, ducking your head even though Negan's not even looking your way. "On second thought, I don't think I want to know what you've got planned," you say, hearing his all-too-familiar laugh filling the corners of the room.

"Not a fan of being on the receiving end of so many questions?" Negan asks after his amusement subsides. "Well, fuck — now who's not playing fair?"

"Hold the phone — you've always gotten the option of not having to give me a straight answer," you say, the corners of your mouth turning up slightly as you lift your head to face him, grateful as anything for the change of subject. "Don't see why I should have to follow different rules."

Negan tilts his head until he's looking your way, a spark of amusement in his eyes you're sure is mirrored in your own. "Think we both know things are not nearly as fucking interesting that way."

"Speak for yourself," you say, still smiling while you give him a shrug. "Personally, I think I've had enough interest to last a lifetime."

It's clear that Negan's got another rapid-fire response waiting at your words, but at that moment you both hear the sound of something knocking against one of the storefronts down the street, and you never get to hear whatever one-liner he had sitting on his tongue. And it's not like the walker is any kind of a threat, but the noise is enough to remind you of why you're here — that you're not trading jokes surrounded by cheap appliances and dusty carpets because you enjoy Negan's company. Picking up the knife from the table and tossing the blood-streaked napkins into a trashcan, you holster the metal at your hip and shift one of the chairs to a spot near the window.

"It's still early enough," you say to Negan, "but all things considered, I'd rather get an hour or two more sleep if possible. You mind calling it a night?"

He gives a noncommittal shrug, letting your abrupt change of pace go unremarked as he eases off the couch and moves to dim the lanterns so the room quickly fades to black. "Not like my day was any easier than yours that I'd object to a little more shuteye." He settles back against the cushions, his figure little more than a shadowy silhouette in the dark. "If there's nothing life-threatening before my shift, feel free to act like I've got a 'Do Not Disturb' sign tattooed across my forehead — understood?"

"Yes, sir," you say, taking the seat at your post by the window, flashlight in hand and shades separated just enough that you've got a decent view of the streets. And it doesn't take long for the rhythms of Negan's breathing to change, mellowed out into the steady white noise you'd grown familiar with from the nights you'd spent on the road with Marie and Chase and Luke and Wendy. Hell — with only the sounds of quiet inhales and exhales for company and your hand hovering close to the hilt at your belt, you could almost forget  where you are or who you're with. Could let your mind fall back to a simpler time when you knew the shape of your companions' characters as well as you knew the calluses on your fingertips. When the question of trust wasn't such a complicated fucking thing.

Because that's the heart of the matter that's got you so goddamn confused—the pit at the middle of the peach you've been so careful to chew around—isn't it? That you think you might be starting to be changing your opinion of Negan in ways you're nowhere close to comfortable thinking about.

That—fuck—you might even be starting to trust him.

As soon as you give freedom to even the notion of the thought, you feel like such a fucking fool. Sinking back until your spine is following the curve of the molded plastic, you're tempted to shake your head at yourself — because you should know better than to let your better judgment be swayed by a few easy words and a charming smile. Because you've heard the stories that survivors at the Sanctuary tell about Negan, and if even a tenth of them are true, they should be enough to convince you that no small gesture he makes is worth your confidence. After all, he said it himself, didn't he? And said it more than once, too — that his first and only priority is keeping himself alive, full fucking stop. No room for anyone else in that kind of an equation.

And as for saving your life earlier? Hell — all you can assume is that, right now, you're worth more to him alive than dead. You should know better than to mistake his self-interest for anything other than what it is.

They're uncomfortable thoughts, but not illogical ones, and you'd be deserving of an early grave if you ignored them just because you don't like the way the sharp edges of the truth sit in your stomach.

Rolling your shoulders like you're trying to dislodge the discomfort that's weighing on you, you prop up one foot on the edge of your chair and return your full focus to the world outside the window. Fucking enough wondering about the man stretched out on the couch — why don't you remember what you're goddamn priorities should be and settle for making it through the night.

It's earlier than you expect when you feel Negan's hand on your shoulder, when you hear his quiet whispers urging you awake not long after you'd changed shifts. You need a few moments to blink your eyes open, vision adjusting slowly to the dim shadows and not helping you make sense of the expression on Negan's face.

"What's—" But your words are cut short when he rests a heavy hand over your mouth, shushing you with a slight shake of his head, the calluses of his palm rough against your lips.

"Best if we stay quiet, understand?" Negan asks in his low voice, waiting for your silent nod of assent before he removes his hand. You shift until you're sitting upright, eyes following him closely as he eases his way back to the window, peering briefly between the blinds.

"What's going on?" You say, mirroring his quiet tone as you start lacing up your boots.

"Nothing good." He says, that sharp edge in his words evident even in his whispering. "Think you're gonna want to make sure that gun's fully loaded, sweetheart — looks like we've got trouble."

[digitalmark18-blog]

17 Tactics to Create Engaging & SEO-Friendly Content by @ronlieback

New Post has been published on https://britishdigitalmarketingnews.com/17-tactics-to-create-engaging-seo-friendly-content-by-ronlieback/

17 Tactics to Create Engaging & SEO-Friendly Content by @ronlieback

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Some can create engaging content. Others can create SEO-friendly content.

Few can do both.

For true digital success, all content – from service pages to blog posts to guests pieces on third-party publications – must engage and appeal to search engines.

When engagement and SEO are aligned, both build upon each other’s mission.

That’s the simple secret of digital marketing.

For this alignment to flourish, technical SEO is crucial. But the most energy is absorbed by the copywriters. Sadly, most companies hire the cheapest copywriters possible to save a dollar here or there.

This is wrong in every way; a content writer carries more clout than most in the endless world of digital marketing.

I continually stress the importance of hiring strong copywriters to my agency’s clients – even if that client has already been with me for years.

One successful route that makes sense to those who don’t understand the importance of engaging and SEO-friendly content is my explanation of what I call the “online engagement ladder.”

Searchers begin at the lower rung and work their way up (read ascending from 1-4):

4. Content engages audience. 3. Title attracts an interest; meta description builds upon this interest. 2. Content ranks high for search query and keywords through strong SEO. 1. A search query is entered into a search engine with various keywords.

The end result of a business that follows the simple online engagement ladder?

Searchers quickly transform from prospects to customers/clients/readers (based on the proverbial Holy Grail of online industries: products/services/news).

Once these customers/clients/readers are exposed to engaging content on a consistent basis, they will soon become loyal to your brand. Without getting too deep, loyalty allows easy up-selling, and by nature this equates to higher ROI.

After more than two decades of creating content for both traditional and digital platforms, I’ve learned a few things about designing content strategies that feed the engagement/SEO-friendly machine.

Following are 17 essential tactics that I use when training my agency’s writers.

These are chronologically ordered for maximum impact. Notice the added energy that’s needed toward the revision stages of creating engaging and SEO-friendly content.

1. Keyword Research

For digital marketers, these four syllables are cliche. But for some reason loads of content is continually created without proper keyword research and a clear keyword strategy that includes optimizing each page or post for target keyword(s).

Search Engine Journal has dozens of articles on keyword research if you don’t know this foundation for content marketing success.

With proper research, you’ll know what type of keyword volume and trends are out there, and you can optimize your post or page to capitalize on that research.

Main service/product/category pages – especially “parent” ones – can chase the higher volume keywords. All other lower “child” pages and, especially blogs/education articles, can chase the long-tail, lower-volume keywords that are typically endless in any industry.

Note: Optimized website hierarchy and keyword mapping are paramount for success. If your agency refuses to mention this before creating content, run.

2. Related Keyword List

During your keyword research you’ll also discover related keywords – ones that when properly implemented will show relevancy to the post/page’s target keyword(s) and theme.

Spend time creating this list of related keywords. It will be vital to your overall strategy – especially after some other things are done that cater more to the writing side versus the SEO side.

3. Engaging & Optimized Title Tags (Headlines) Supersede Everything

You can have the best piece of content in the world, but if the title tag/headline is not engaging, not many people will notice. Genius copywriters like Ray Edwards say that you have a mere two seconds to garner attention with your headline.

First, for SEO purposes, you must use the target keyword(s) –  as close to the front as possible. And keep that title around 60 characters.

Next, the title must do one or all of the following:

Explain how to do something.

Establish credibility.

Create curiosity.

Command a benefit of a product/service/news headline.

Engage the conversation within the reader’s head.

Explain the idea of the “WHY” of your brand (read Simon Sinek).

Also, two things that are statistically said to attract attention from a psychological stance are:

Brackets or parentheses

Odd numbers

Put the effort into creating title tags/headlines that drive clicks. Also, A/B testing of a few title tags will result in much higher results.

4. Now Forget About the Keyword Research

Now that the keyword research is complete, and you’ve created your headline, it’s time to focus on creating the content.

Put SEO out of your mind. Focus on creating the content itself.

Mentally make a note of the related keywords, and most importantly the theme of your title, but clear your mind of any thoughts of SEO. Just focus on the writing for now.

5. Enhance the Mindset

For some it takes music. For others pressure from deadlines. For others, booze or whatever other type of thing settles the soul, whether a run, a talk to a psych, or a simple hike with the dog into the woods.

Regardless of what it is, do it, and get focused on creative writing vs. SEO.

6. Now Write

Began writing the first draft with one mission: explain the topic to your readers in simplest form. The quickest way to achieve simplicity and organization (which is explained below) is to begin with a simple outline.

Draft the most important thoughts and create your subheads (if using numbers, don’t insert them yet – #6 above was once #9). All thoughts will likely change, but for now just get the main ideas down that support the overall title.

The ideas may start slow, but once the mood sets in – which occurs quicker when you practice this technique often – words will flow.

Don’t worry about sloppiness or correcting facts; let the mind go, and brainstorm on the screen or by handwriting with a non-stop flow (I’d say stream of consciousness, but that’s also cliche for literature types. Plus, we want short paragraphs that will help us in the revising phases).

Handwriting may sound like some archaic process, but for some, this process just works. It works for me with certain articles like this, which was outlined in a tub while taking a break from client work.

Remember – even in the first-draft phase — don’t write thick paragraphs.

This will help save time in future revisions, and with practice will help press the ideas of short paragraphs and white space between words. (Again – we’re writing for a smooth transition of ideas to the reader. The easier we make it, the faster these transitions will happen.)

7. Writer’s Block is B.S.

Many may stop and wonder what to do if “writer’s block” happens. Well, I once suffered from this, but soon realized it’s just B.S. – an excuse to not write.

I’m not saying there’s anything wrong with delaying the entire process of writing. I sometimes wait until moments before the deadline to begin a project.

But it isn’t writer’s block; rather, it’s a personal process to force creativity. This happens for only certain writings. But when I sit down to write every day for multiple clients, I never suffer from writer’s block.

If ideas won’t begin, simply start by writing words. Just the physical process of writing can get the mind flowing.

A few tips to start the act of writing are:

Rewrite the title in paragraph form.

Write a few URL structures.

Retype your related keyword list.

Brainstorm bullet points of what you want to say to someone as if you were talking to them.

The latter is my favorite. I imagine talking to the reader, and explaining all the main themes of my article, saying the words out in my head as I type or write each bullet point.

Sometimes I compose 100 bullets; other times 10. Regardless, they get the mind in unison with the fingers to write.

8. Time for Organization

Now, even if you have 1,000 words or 100 bullet points or 10 subheads,  it’s time to organize your writing. Organized writing equates to organized thoughts, and this organization appeals to a reader’s emotions (equates to quicker sales).

Always organize with an end in mind:

What do you want to achieve here?

What is your overall mission?

Why would you waste time writing if there was no ending in mind (remember, we’re talking digital content that’s set to quickly engage…not fiction!)?

As for the actual writing process, some focus on creating the beginning and ending before the middle, and others the vice versa. Find what works for you. Experiment with both back-to-back, and find your way.

9. Drafting Begins

This is where the real work begins – drafting.

I use the 80/20 rule for all business practices, making sure 20 percent of my efforts achieve 80 percent of the results. This principle quickly comes into play when you begin drafting.

Your first draft may have 80 percent of its efforts in 20 percent of the ideas that need to be explained. Cut useless ideas and words aggressively.

Don’t be afraid – it’s only your first draft. Think about your first moments at anything – driving a car, starting an agency or business, love, music, whatever. Most would likely never repeat what happened first. The same thought process goes for your first round of edits:

Write.

Think 80/20.

Rewrite.

Repeat process

I’ll sometimes begin with 2,500 words for a “simple” blog item, cut it to 800 words, rebuild, and cut again. Rebuild until it achieves everything you want to say.

10. Now Walk Away

Regardless of how much writers think they can control all at once, fogginess will set in.

You can continue writing the first draft until your head explodes because that’s what that process is all about. But when drafting begins, fogginess will set in. Embrace it, but realize you must refresh the mind.

This is when it’s time to walk away.

Contingent on the size of the content, this period away may take a few hours, days, weeks, months, or years.

In regards to the latter, I’ve been away from the final draft of my debut fiction novel for nearly six years. Between I drafted another three, but I’m simply not ready to finish that first one.

But then again, that novel is for my relaxation – not client work that needs finishing under tight deadlines.

11. Repeat Steps 9 and 10, then Return to SEO Thinking

Repeat steps 9 and 10 for as long as it takes. Once satisfied, it’s time to return to the SEO thought process.

Start by revisiting your keyword research, and reread your related keywords.

Now that the tough writing is done, and thoughts/themes are explored, some related keywords will make more sense than others.

Again, think like the reader. Place as many of these related keywords into your article in a natural flow.

12. Organize. Again.

Now that you’re satisfied with the implementation of the related keywords, it’s time again get into the reader’s mindset and out of your own.

First walk away, then come back and read the latest draft out loud, making sure not to skip the subheads.

A trick I use is having my Facetime app open on my Mac so I can see myself while reading. I guess this replaces reading in the mirror, which never worked for me.

When seeing yourself as most see you in the digital world, you quickly realize how dumb you sound – and look – when your content is unclear.

Clean up the draft once again before returning to SEO.

13. Meta Descriptions Need as Much Energy as Revisions

Once you have your best possible draft (don’t be married to it just yet; if you are not the final editor, things are bound to change), it’s time to write the meta description.

Though Google says it has zero ranking factor, it can have a significant impact on who clicks through to your website.

The title tag is the main driver of openings in search results, but the meta description can help strengthen that title tag, or weaken it.

Don’t spend all the time writing and revising just to let a meta description pass by.

Also, use target and top-volume related keywords in it when possible. If in a search query, these keywords are bold in the meta description, which naturally attracts the eye, enhancing openings and user experience (UX).

Once your meta description is complete, the layout warrants it, write a “deck head,” which is basically the original subheading that supports the main title. The deck (as it is known in traditional journalism) is used to create curiosity around the title tag.

14. Optimize, Thinking from the Top Page & Down

Think from the top of the page down, and make sure you have optimized the following with keywords in mind:

URL structure.

Title (you centered your writing around it, but sometimes that title changes).

Sub-heading/header tags (make sure you not only optimize for keywords, but make them H2, H3, etc. tags).

Image alt text/captions/titles (fit as many keywords as possible here).

15. Optimize Linking

We could have simply made this a bullet point above, but many forget the importance of optimizing your internal/external linking for the actual post/page content that you create (read: not footers, menus, sidebars).

What happens within your text or images can do much for UX – or destroy a reader’s focus.

Optimize internal linking. Find the most optimal keyword or keyword phrase, and hyperlink it to an internal page of significance. One look through this article and you’ll quickly understand how much effort goes into internal linking.

Optimize for external links. Especially if you’re in a news-related industry where content depends on exposure of possible advertisers. A simple followed link in the text can create a strong relationship with that prospective advertiser.

Just make sure all internal/external links flow with the theme of your article.

Many readers will stall if they click on a link about content creation like this one, and that link brings them to a page about the importance of collagen and fingernail growth. Yeah, it sounds disgusting and will kill your audience’s intent – the thing search engines prioritize for top results.

16. Before Publishing, Revise Yet Again

Can I stress revising enough?

Many of these latter SEO elements will occur when a story is uploaded – especially the internal linking, and most on-site SEO elements such as making headline tags actual headline tags, and optimizing the meta descritpions and URL structures.

But once all is done, it’s time for one more revision. And this happens within a live screen. A great CMS like WordPress will allow you to preview your post before publishing.

This is once again psychological, and you will point out mistakes in a preview that even the best editor couldn’t find on your Word document. It’s just part of the process. Stick to it.

Also, it’ll show you how the article flows (is there enough white space?) and allows you to review/check all internal SEO elements, such as optimized header tags and internal/external links (you don’t want any 404s ever!).

17. Final Step: Get Social Early & Often

Socialize it through every online means you have, with a focus on Twitter and Facebook.

Social networks like these two have more than proven their worth regardless of pressure from the financial analysis and luddites that ironically cover the streams of social feeds today.

It doesn’t matter; the conversation needs amplification, and social is the truest means there.

Embrace social. Grow social.

Amplify your brand across every social channel that makes sense.

Summary

Don’t overthink the most basic elements of content creation:

Searchers must find the content.

The content must engage.

For long-term success, one element can’t go on without the other. When correctly implemented, both combine to create the strongest digital content possible – the optimal solution for ROI.

And this ROI compounds because strong organic content gets stronger with each free click, whereas even the best PPC ad needs continuous investment for success.

The step-by-step tactics above are the proverbial roadmap for creating successful content in any business, regardless if it’s product or service based, or a news organization that thrives on quality traffic for advertising dollars.

Engaging and SEO-friendly content is proven; don’t skimp on it.

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