Muse Guide

Scenerymania entry; why we hate him Part 1

"The mantle of leadership will be handed over to you people, where you'll have the ability to transform visions to reality. What are your visions? I'll give you a fortnight to think about it." He dismissed us. joy 
  My secondary school is a renowned one in my town, a large, spacious and a park for intellectuals indeed. Yes, when i say intellectual i surely mean it, A former Head of State of Nigeria was a product of my school, the incumbent Senate President, A nominee for Grammy best female category award, an aspirant who contested against Obama, The greatest lobbyist in Nigeria, The President of Liberia, The Chief Strategist of Al-Qaeda, the best footballer on the planet earth, the Vice President of World Bank, Seven Vice Chacellor in seven different prestigious Nigerian University, the Mayor of Lancashire and so many prominent people on earth are my school products (ayam not lying o!). 
 The prefectship in my school had a wonderful  standard, you can only be one if your English is more than average, you must be fluent. Many of us that went to a private primary school can still communicate well and better than public school laddens. 
   However, no matter how good you're, a pure blood of our school will never become 'The Senior Prefect'. If you want to assume the 'SP' position, then go to a private college and quit at SS2 to join the train of my school leaders, you'll sure be in the executive cabin, favoured as the Senior Prefect. The day he called us for the discussion, what he's actually doing is buying enough time for a new seeker to show up, a new private school boy to be our 'SP', it's already two weeks into resumption yet none had shown up. 
  We all looked out everyday for the savior of our time, 'the new seeker', he shone with fame without an identity, some even advised the school to pronounced other prefects and leave the position for the anonymous but the principal insisted. 
  After a fortnight, once again the principal sought for our audience and we responded. We were interviewed in front of a panel one after the other. After a thorough screening, we've all known our school-given post. 
 Kola, the to-be-senior-prefect, was overwhelmed with happiness for being the first pure blood seeker of the school, we celebrated with him as he bought us food and the likes during break-time at Iya Divine's stll that same day. 
 He fumbled about how great he had become, for him being the first of a kind, it is a good sign that he will also one day rule the world, that night he already prepared his highly motivation speech, the likes of Les Brown and Robert O. Kiyosaki's own that goes thus... 
 "I Kola, the son of man on this day assumed this post higher than the United State Presidency. 
The future is ours, greatness and prosperity were the foundation of this school, if your glory is a dim type, once your foot were stepped onto this heaven, immediately your star would shine brighter. For me, this is the world before me, a Donald Trump is here, a Bill Gate in the making was staring at me and if truly Obama broke the record of being the first black president, then i myself with the galaxy of stars packed before me here would break the record of being the first black man to rule the whole world, i will show you what is meant by leadership, as it is the ability to transform vision to reality. On this day, i place it before you, dont call me the SP again call me the 'Global President', it's I, Kola Timba. 
Thanks." 
Sincerely, it would have being the best speech ever if delivered, i was so proud of my school as i read the speech. 
  Then the D-Day, we've all ironed our uniforms, the ironed edges (gators) formed on our trousers  could slice a throat. As the assembly started, anxiety arose in us,  after the principal idiomatic address on the assembly, he moved on to naming we flag bearers. 
He continued like,....."discipline is the bridge between goals and accomplishments, please cross the bridge, I will hereby call on the new leaders of the school, they will....." the school messenger interrupted running towards the assembly, 
"the seeker has arrived!!!" he screamed. Suddenly there was a vehement outburst on the assembly, either they were expressing their joy or angst I wouldn't know, all I know is their was chaos amidst our assembly row. The boy, a very tiny boy with a broad smile as if he purposely came to rain on our parade. "Yes!,  that's the man, UB3, give us a marching song", the principal suspended the assembly. As we were marching in, Kola fainted. 
...To be continued 
 Yusuf abdulqoyum
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Scenerymania entry; why we hate him Part 1

"The mantle of leadership will be handed over to you people, where you'll have the ability to transform visions to reality. What a...

ANA review 2015: call for submission

ANA Review 2015: Call for Submissions 
It's six days to go, below is the detail: 
"This is to call for submissions for the 2015 ANA Review. The intention of the Association of Nigerian Authors is to publish a yearly Review that will showcase the very best of Nigerian and African writing. Consequently, we request submissions in the following genres— 
1.Prose: Including short stories and novel excerpts. Maximum word count 3000 words. 
2.Poetry: 3 poems per submission. Maximum, 40lines each. 
3.Drama: 5,000 words maximum. 
4.Essays and Reviews: 3,000 words maximum. 
5.Illustrations of Novels/Poetry: 3 per submission. 
This call is open to all Africans, holders of passports of African countries and persons of African descent writing about themes concerning the continent. Works to be positively considered have to be of the highest quality as creative merit will be the sole criteria for selection. It is our further intention, however, to have an inclusive ANA Review. All submissions should be emailed together with a 100 word bio of the author to <a href="mailto:ana.review14@gmail.com">ana.review14</a><a href="mailto:ana.review14@gmail.com">@</a><a href="mailto:ana.review14@gmail.com">gmail.com</a> Text must be in the Microsoft Word format while drawings must be in the .jpeg or .jpg format. Deadline for ALL submissions is 20th of August, 2015."
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ANA review 2015: call for submission

ANA Review 2015: Call for Submissions It's six days to go, below is the detail: "This is to call for submissions for the 2015 ANA...

Call for submission GSBPC 2015

CALLS FOR SUBMISSION TO AN AUDITION OF‪#‎GEORGESHAKEWORDS ‬BI MONTHLY POETRY CHALLENGE (GSBPC 2015). 
It is just two days to the deadline, below is the detail: 
"The WordWard in collaboration with The GSBPC invites poetic sWORDERS and lovers of duels to send in their well-worded pieces for the August edition challenge.The GSBPC kicked off its inauguration on July to give the needed outlook and improved innovation to the longings for modernized sWORD-fights towards poetry advancement in Nigeria.It is the only competition that gives serious attachment to poetry challenges and a championship where a winner takes it all. Its maiden edition being won by Akinbode Israel. Due to the quality of entries in‪ #‎AJAPoetryContest‬, GSBPC has decided to stick with the following qualified poets with whom the qualifying poems of this audition will be paired in the second round. They are: 
|Jeremiah Peters 
|Kujore Victoria Omotayo 
|Olanrewaju Moses 
|Dawon Rilwan 
|Odunola Don Kolawolu
In other word, this is an audition and it is the first round. Only qualified poets of #AJAPoetryContest were being granted direct entry into the second round of course without auditioning. 
PRIZES TO BE WON:-------------------1. A two thousand naira voucher of any network to the winner of the challenge. 
2. A copy of the book 'Home Apart' by George Shakewords. 
3. An interview by The WordWard to be published on their blog. 
4. Every poem in the final will be posted to The WordWard blog along with their writers' biographies and pictures.
GUIDELINES:------------- 
1. Interested candidates are to submit their pieces on the theme 'TRAILS OF BLOOD'. 
2. All submissions should be made via email as BODY of mail to GeorgeShakewords@gmail.com with the subject: GSBPcAugust followed by the theme, i.e; GSBPcAugust: Trails Of Blood. 
3. All entries must be the original works of the writers. 
4. The maximum length of pieces should be 30 lines. Any pieces which exceed will be disqualified. 
5. Writers must add their full names and a biography (100 word maximum) at the bottom of their pieces. Their facebook identities also must be disclosed. 
6. All later information on fixtures, arenas, winners and changes regarding the contest will be disseminated on The WordWard official Facebook page which every candidate should endeavour to like so to follow their updates. Check:https://m.facebook.com/profile.php?id=679842592116246
NOTE THAT:------------¤ 
This is an audition where shortlisted poets will be paired with the reserved qualified poets of AJAPoetryContest.¤ This audition will be judged based on artistic quality and creativity, for the second round.¤ Fixtures and duels of later rounds will be regarded on The WordWard facebook page where every participating poet will be tagged to.¤ In the later rounds (which are the duelling rounds), pieces will be judged by readers and The Judges in a 50-50 rating. Only the first round (which is the audition round) will be judged completely by The Judges. So, contestants are allowed to mention their friends during voting.
ELIGIBILITY:-------------Nigerian residents in any part of the world are eligible.
DEADLINE:-----------The audition closes on the 16th of August 2015, as the later duelings run towards the end of the month."
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Call for submission GSBPC 2015

CALLS FOR SUBMISSION TO AN AUDITION OF‪#‎GEORGESHAKEWORDS ‬BI MONTHLY POETRY CHALLENGE (GSBPC 2015). It is just two days to the deadline, b...

Readers Conflict of Opinions

Readers Conflict of Opinions..... 
... 
Whenever we're into a prose work, as we enjoy it, we equally anticipate for the next or supposed events, be it from what is happening in the story currently or what you think should happen normally. Mind you, it takes a great effort for a writer to compose, though at times there are external influences and inspirations but as a writer, even with a block, you have to escape it and move on. 
What you should understand is; when you're writing, you are the god of the pen as you can fashion your content to your likings (just like the Supreme God do), you can kill a good character and let the bad one live. 
... 
That is where the problem arises. In order not to make your story boring, you need not solve all mysteries, provided that it is not antagonizing your plot and title. 
'Amazulu Warrior', a story with this kind of title is expected to analyse a specific deed, either glory or doom of the warrior, therefore, either the warrior died or live is not our concern(though it may be in your plot). So a kind of story like this is one we shall all agree to your supposed ending provided that the plot ended up to us as clearly justified. 
A story like 'Who the crown fits' wont be befitting without the writer laying emphasis on tussles in the palace and how the heirs strived for the throne. Also, if the writer portrayed one of the heir to be dubious, callous and impudent, yet he ascended the throne doesn't mean he has written it wrongly, many a time had the antagonist surpassed the protagonist in films and if the writer isn't graced to further the story on how the Impudent King ruled shouldn't be a mistake or make the story incomplete, rather, he only had left the readers to fathom on their sentiment and unravel the mystery untold themselves. 
In the story called 'Gege Ara'(the mighty pen) there occurred an incident when sacrifice was to be made to heaven and the Vultures can only bear the propitiations to convey it. Orunmila almost cried because it has been earlier mentioned that he hated Vultures and they hated him too, the hatred trascended to the level that a jamboree was carried out and only Vultures were not invited, though, they later perched for the leftovers after the party. 
The mystery was, Why would hatred exists between a god and a bird? It wasn't explained in the story, and the mystery could never be solved due to the fact that Orunmila was coming to earth for the first time according to the story and Vultures had been on earth since but we dont know maybe Orunmila had once been on earth or the Vultures were formerly living in heaven. 
The summary of Edgar Allan Poe's story 'The Cask of Amontillado' will serve as another example. 
'The story's narrator, Montresor, tells the story of the day that he took his revenge on Fortunato (Italian for "lucky"), a fellow nobleman, to an unspecified person who knows him very well. Angry over numerous injuries and some unspecified insult, he plots to murder his friend during Carnival when the man is drunk, dizzy, and wearing a jester's motley. 
Montresor lures Fortunato into a private wine- tasting excursion by telling him he has obtained a pipe (about 130 gallons, 492 litres) of what he believed to be a rare vintage of Amontillado . He mentioned obtaining confirmation of the pipe's contents by inviting a fellow wine aficionado, Luchesi, for a private tasting. Montresor knows Fortunato will not be able to resist demonstrating his discerning palate for wine and will insist that he taste the Amontillado rather than Luchesi who, as he claimed, "cannot tell Amontillado from Sherry". Fortunato went with Montresor to the wine cellars of the latter's palazzo, where they wandered in the catacombs. Montresor offered wine (first Medoc, then De Grave ) to Fortunato in order to keep him inebriated. 
Montresor warns Fortunato, who has a bad cough, of the damp, and suggests they go back; Fortunato insists on continuing, claiming that "[he] shall not die of a cough."During their walk, Montresor mentioned his family coat of arms : a golden foot in a blue background crushing a snake whose fangs were embedded in the foot's heel, with the motto "Nemo me impune lacessit" (No one insults me with impunity). 
At one point, Fortunato made an elaborate, grotesque gesture with an upraised wine bottle. When Montresor appeared not to recognize the gesture, Fortunato asked, "You are not of the masons?" Montreso replied he was, and when Fortunato, disbelieving, requested a sign, Montresor displayed a trowel he had been hiding. When they came to a niche , Montresor told his victim that the Amontillado was within. 
Fortunato entered drunk and unsuspecting and therefore, did not resist as Montresor quickly chained him to the wall. Montresor then declared that, since Fortunato won't go back, he must "positively leave". Montresor revealed brick and mortar, previously hidden among the bones nearby, and walls up the niche, entombing his friend alive. At first, Fortunato, who sobered up faster than Montresor and anticipated he would, shook the chains, trying to escape. Fortunato then screamed for help, but Montresor mocked his cries, knowing nobody could hear them. Fortunato laughed weakly and tried to pretend that he was the subject of a joke and that people will be waiting for him (including the Lady Fortunato). As the murderer finished the topmost row of stones, Fortunato wailed, "For the love of God, Montresor!" to which Montresor replied, "Yes, for the love of God!" 
He listened for a reply but heard only the jester's bells ringing. Before placing the last stone, he dropped a burning torch through the gap. He claimed that he felt sick at heart, but dismisses this reaction as an effect of the dampness of the catacombs. 
In the last few sentences, Montresor revealed that in the 50 years since that night, he had never been caught, and Fortunato's body still hangs from its chains in the niche where he left it. The murderer concluded: In pace requiescat! (May he rest in peace!)'(wikipedia) 
From this summary extracted from wikipedia, what and what can be deduced?. 
... 
If you noticed, this is also a murder case story but not like stories like 'tell me your dream' which involves detectives investigating here and there. There is no investigation of Montresor's crime and the criminal himself explains how he committed the murder. It seems like the mystery in "The Cask of Amontillado" is in Montresor's motive for murder. Without a detective in the story, it is up to the reader to solve the mystery. 
Montresor never specified the reason for the murder except the thousand injuries he suffered at heart as a result of Fortunato's insult. According to the story, we are only concerned about the mystery in the Cask. Therefore, conflict in readers mind should be settled at discreting junctions based on the faculty of thinking and creative readers too can from mysteries in stories start another creative fictions.
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Readers Conflict of Opinions

Readers Conflict of Opinions..... ... Whenever we're into a prose work, as we enjoy it, we equally anticipate for the next or supposed...

Androbeat DIY

The museguide team is launching a tutorial series tagged Androbeat DIY. During this series, you are going to be taught, absolutely how to make music beats on your android phones and tabs. As we all know that musical beat is the soul of not just music but virtually all modern day digital sound products. From movies soundtrack to background tracks in talk shows, concerts and several other presentations. We will carry out this tutorial using, texts, pictures, audios and videos. One thing however, that you should have in mind is that fact that you don’t have to have any previous knowledge on beat making before you join the bus. Consider that a bonus as you would be thought everything from the scratch. Now is the time for you to creat your own signature beat or tune yourself using this simple technique we will teach you. 
Attached to this post is the download link to a sample beat made using the androbeat technique. The truth is, if you listen to it. You won’t think twice because you’d know it is rich enough to make you crave the knowledge. If you would truly be involved do 3 things. This will ensure you never miss any update. 
1) Like the page 
2) Like this post 
3) Subscribe to our website email list @ www.museguide.org 
As always this is one of the initiatives from the museguide team and expect more as we will always be an Ambassador for promoting creativity. Remember to share this news with friends and even tag them as you probably won’t want them to miss out. Especially since this is absolutely free. If you have any questions, you are welcome to ask via any of our e-channels. Cheers. <a href="http://www.datafilehost.com/d/2995dc4c">Click here</a> for the sample beat. 
Website: www.museguide.org 
Facebook page: www.facebook.com/museguide 
twitter handle: @museguide 
Abd-afeez Abd-hamid
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Androbeat DIY

The museguide team is launching a tutorial series tagged Androbeat DIY. During this series, you are going to be taught, absolutely how to ma...

Museguide special entry; serpents are significant

It's a wonder nowadays that so many African city kids had never set their eyes on a snake except for big screens and T.V's, many had a refined mentality regarding serpents courtesy of ill orientations conveyed through some mediums especially Bollywood series and films. 
Snakes is highly significant when it comes to art and craft and also played an important role in our food web even though religiously(Islam and Christianity) 'a good snake is a dead snake'. 
In the case of art and craft, the snakeskin is quite useful in many aspects. For example, snakeskin is widely used in producing leather bags, belt, necktie and watch band as the snakeskin is soft and light and its natural pattern is beautiful. China was the first country that used snakeskin to make instruments, such as urheen. 
In our food web snakes are very useful. All snakes eat rodents for the most part.  Rodents carry a variety of diseases and destroy millions of dollars worth of crops a year.  One snake could eat 2-4 mice or rats a month.  Presumably if at least 1 mouse eaten is female, then that takes another few hundred baby mice out of the population.  Australia worked to irradicate many of their venomous snakes and they ended up with a rodent overpopulation that was completely out of control.
Snakes are reptile covered in a skin of supple, living scales; legless; with staring eyes that never blink or close; a flickering forked tongue; and, sometimes, fangs that deliver toxic venom. Though, Snakes crawl around legless with a poisonous head but yet it has a greater significance specifically for the black race. 
We mustn't progress from here without clarifying the symbols represented by snakes to different sets of tribes gracing this black nation. 
In Africa the chief centre of serpent worship was Dahomey, but the cult of the python seems to have been of exotic origin, dating back to the first quarter of the 17th century. 
By the conquest of Whydah the Dahomeyans were brought in contact with a people of serpent worshipers, and ended by adopting from them the beliefs which they at first despised. At Whydah, the chief centre, there is a serpent temple, tenanted by some fifty snakes. Every python of the danh-gbi kind must be treated with respect, and death is the penalty for killing one, even by accident. 
Danh-gbi has numerous wives, who until 1857 took part in a public procession from which the profane crowd was excluded; a python was carried round the town in a hammock, perhaps as a ceremony for the expulsion of evils. 
Mami Wata also is a water spirit or class of spirits associated with fertility and healing, usually depicted as a woman holding a large snake or with the lower body of a serpent or fish. She is worshipped in West, Central, and Southern Africa. 
Snakes venom are used in treating variety of diseases as well cancer, low sexual performance, diabetes and all forms of skin problems. It also signified healing power of medicine. The snake's venom is associated with the chemicals of plants and fungi that have the power to either heal, poison or provide expanded consciousness (and even the elixir of life and immortality) through divine intoxication. Because of its herbal knowledge and entheogenic association the snake was often considered one of the wisest animals, being (close to the) divine. Its divine aspect combined with its habitat in the earth between the roots of plants made it an animal with special properties connected to the afterlife and immortality. Asclepiu, the god of medicine and healing, carried a staff with one serpent wrapped around it, which has become the symbol of modern medicine. 
Courtesy Yusuf Abdulqoyum.
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Museguide special entry; serpents are significant

It's a wonder nowadays that so many African city kids had never set their eyes on a snake except for big screens and T.V's, many had...

Determination

I was adhered to change, 
To conquer a vastness of possibilities. 
I've travelled in leagues of strives, 
 To surpass the turmoil of failures. 
On my grimy wings sparkled hatred, 
Illusions for enemies' deceptions. 
They shall see me flutter but cry, 
Discerning words utterly blasphemous. 
Ignorance fated them as being worse, 
Condemned to the abyss of sins. 
Many a times they'd wished for my fall. 
But such wishes I always recall, 
As balloons placed amidst thorns. 
An agglomeration of failed efforts, 
Mounted upon their silly get at hope. 
They shall dream of their success, 
Savouring its salient flavour of satisfaction. 
Only to face bitter reality when it's due. 
Songs of victory they have sung, 
Annotated on how they have won. 
Enemies and their songs of shame, 
Adorned brightly with drums of wails. 
No matter how much they've tried, 
The plots they plotted or the tries they mounted, 
Tell them I am the golden child of fate 
And I shall excel regardless of their hate.
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Determination

I was adhered to change, To conquer a vastness of possibilities. I've travelled in leagues of strives, To surpass the turmoil of fai...

Writers tutorial entry; the justification of controversies

The justification of controversies 
The essence of this article is not to present a viable argument but to secure potent opinions as regard the topic of discuss, as either a writer or a wonderful reader of all creatively crafted write ups. In our stories, quite often, we are left with the option of finding an end to a mystery baffling our readers, solving puzzles and appropriating the story climax. The end result of which ever blend of these factors we incorporate into our stories is the creation of the sensation of uplifting the readers into our story realm. This would eventually create two categories of readers. 
   1) Those that are completely conversant with our story world and could perfectly continue a fan fiction on your story. 
   2) Those that are mildly or very lost and hence has questions to ask as regard your story realm. 
The first category of readers is not our concern in this article but the other. The ending of a story most times could be controversial enough for readers to expect a sequel which to the writer truly never exist. These kind of controversial endings, are they meant to be consciously created or rather just a reflection of the reader’s comprehension capabilities? 
This bring me back to the topic, the creation of controversies in a story, which were left unsolved. Is it a good attribution to any story or a flaw? If the controversy is as a result of the reader’s low comprehension ability, are we to be concerned about the existence of such readers while writing our various stories? 
The conscious creation of such controversy had been justified by renowned best-selling writers who claimed it is a compelling spell that drags certain readers to the story as their inadvertent meditations towards solving or justifying the  controversies with the writer will keep them ready to read to the end to confirm if they have actually outwitted the writer. 
However aren’t the same controversies without a competent resolve not enough to bore certain readers who love justice? They love to see every developments, twists, turns and conflicts resolved most judiciously before they could be satisfied with any write up. Are these set of people meant to be ignore? Isn’t a writer duty also to write what people would love to read? Isn’t a writer also meant to be able to express himself in his most natural compelling way (A writer’s voice)? If that were to be the case then, are unresolved controversies a positive to a story or a negative? 
Before I round up, I will lay an example of a petty argument between me and a fellow writer. We both were reviewing a story in which one of the dubious cast was struck dead as a result of nemesis for her deeds, however this sin was committed by two, but only one received judgement. She then claimed that her death was not justified by her deeds and that the writer was too shallow in trying to justify her death by hanging it on the neck of nemesis. She was right to an extent, however, I yet asked her a question; how will a writer justify that which he does not know? What if a reader even gets to know more than the writer if he had been adequately absolved into the story realm? What if? 
In conclusion, I’d love to hear the opinions of dear readers as regard this controversial aspect of creative writing. Should the premise of justifying controversies absolutely lie on the shoulder of the writer? Should it? I await your responses. Thank you for reading. 
Abd-afeez Abd-hamid
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Writers tutorial entry; the justification of controversies

The justification of controversies The essence of this article is not to present a viable argument but to secure potent opinions as regard ...

The poor's poor voices

Decided to pick up my rusty pen of poetry today: pardon me if my ink appears in grimy scribblings.
The poor's poor voices
I was to scour the world, 
A sojourn for a purpose of one, 
I was to change the world, 
With the capture of that one voice.
Our generation has been robed. 
A larceny beyond comprehension, 
The wicked giggle at the tension, 
Mediated by our various losses. 
So how shall they merry at the sight? 
Of men in disarray in tearful plights. 
How shall they survive? 
If the wicked yet milk them dry.
Justice had be dashed a titan blow, 
It's eyes oozes smelly fluid of sorrow. 
Only the tatty ones in rags seeks justice. 
Array they stayed in line as the wicked serve them injustice.
A mirror of demeanor separate the  rich from the poor. 
A tale of dishonor, upon the lips of the poor it sprung. 
They wish an end to the rich's spree of terror, 
Their heart they wish would earn succulent core.
Nothing changes yet, businesses maintained status quo, 
Heroes that should have helped have all sunk to rust. 
If only their is a fate that honours the poor. 
Upon destiny's ride it shall lead them to freedom.
Upon all the inequalities, 
Upon all the sufferings, 
A say would have been enough, 
A plead would have been fair, 
But who would have listened? 
Of what worth are voices, 
If they cannot tingle ears of worth?
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The poor's poor voices

Decided to pick up my rusty pen of poetry today: pardon me if my ink appears in grimy scribblings. The poor's poor voices I was to sco...

Let your dialogue do the talking

Dialogue tags are not the place to get creative if you want to draw your reader in. Leave that to the dialogue itself. 
I’ve never met a writer, whether working on an epic fantasy novel or a true-life account of a harrowing experience, who hasn’t wanted her reader to get completely lost in the words on the page. While there are many things that separate fact from fiction, there’s one thing that all writers ignore at their peril: a good, hard, honest self-edit. Let’s talk dialogue. Fiction writers learn quickly that there’s nothing as terrible as stiff, unrealistic dialogue to pull a reader out of the story. And while non-fiction writers can’t falsify direct quotes, there’s plenty they can do to ensure the flow is natural. The first place to start is by cutting out as many dialogue tags as you can. You want the reader to read right over those tags as if they’re not there. Dialogue tags exist for only one purpose: to identify for the reader who is speaking in your manuscript. That’s it. 
You want the focus on the dialogue itself. You don’t want readers to get distracted by the tag. This is one of the most common mistakes new writers make. They think words like asked or said are boring or repetitive, so they try to use more interesting alternatives. Trust me: dialogue tags are not the place to get fancy. Dialogue tags should melt into the background. Said and asked are all you need. Resist the urge to use queried instead of asked, or exclaimed instead of said. All those flourishes will do is tell readers you’re a newbie. If you’re writing creative non-fiction, you get to have some fun and create dialogue in your story. It doesn’t have to be verbatim, as long as it’s true to your telling of the story.There’s also the tendency to use the dreaded –ly adverb in your dialogue tag. Consider this: Dialogue tags are not the place to convey emotion – the dialogue itself should do that. If you think you need an adverb to convey emotion, your scene needs to be written so the character’s dialogue and actions more clearly express that emotion. It’s the difference between showing and telling. Here’s an example we use in AutoCrit when explaining the problem with adverbs in dialogue. 
“I’ve had enough,” Simon said angrily. This simply tells us that Simon is angry. But that emotion isn’t demonstrated through his actions or the dialogue itself. Remember what we said earlier about dialogue tags: Readers read right over them. Their only purpose is to tell the reader who is speaking. So if you want the reader to feel Simon’s anger, you have to show them through the dialogue itself. Here’s how you might do it: 
“You disgust me. This conversation is over,” Simon said. Here, Simon’s words are angry, so you don’t need to rely on the adverb angrily to convey that. The dialogue is stronger and the emotion is clear. You could also include some brief actions or descriptions to eliminate the adverb and convey the character’s emotion. For example: 
Simon shoved back his chair and slammed his fist on the table. “I’ve had enough,” he said, clenching his jaw. “This discussion is over.” 
The actions and description here help show how Simon feels, so we can easily eliminate the word angrily from that dialogue tag. Whether you’re writing fiction or non-fiction, you are telling a story. Dialogue is one of the most powerful elements in storytelling.
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Let your dialogue do the talking

Dialogue tags are not the place to get creative if you want to draw your reader in. Leave that to the dialogue itself. I’ve never met a wri...

5 mistakes gutarists make on pitch harmonics

Your lead guitar playing will sound totally badass once you learn to play clean, articulate and screaming pinch harmonics any time you want. When done right, this technique adds MASSIVE amounts of drama, passion and fire into your guitar licks. Likewise, pinch harmonics. 
incorrectly, making mistakes that make mastering this technique impossible. 
To start mastering pinch harmonics right now, watch the video below to see how I helped one of my students to go from struggling with this technique to playing it accurately in just minutes: 
Now that you’ve seen how simple pinch harmonics are to play, here are the most common mistakes guitar players make when trying to learn this technique and how to avoid them in your playing:
Mistake #1: Not Knowing The Right Place(s) On The Strings To Play Pinch Harmonics To play articulate pinch harmonics, you must know where to strike the string with the pick and you must hit the string in that spot every time. If you simply strike the string in a random place, you will likely hear a sloppy noise instead of a clear harmonic and you won’t be able to consistently produce clean sounding pinch harmonics any time you want. How to solve this problem: 
Invest time to find the sweet spots on your guitar where you can produce the harmonic most easily. To do this, practice playing the harmonic in many different places along the string (sliding the pick up or down) to find where it responds the best. Watch the video above to see this approach demonstrated. IMPORTANT: Make sure to pause for 1 second between each pick stroke to LISTEN if the harmonic came out clear and strong before making any adjustments. Your ears and mind must be focused when practicing this technique.
Mistake #2: Muting The Harmonic With The Thumb After It Is Played. 
After you play a pinch harmonic, the last thing you want is to kill it before it has a chance to sustain. Yet, this is exactly what happens to most guitar players as they follow the common (wrong advice) to "strike the string with the pick first and then touch the string with the thumb. Fact is, both the thumb and the pick need to strike the string at the exact same time to produce clear pinch harmonics. How to solve this problem: 
Practice playing a scale (any scale) with all downstrokes while holding the pick very close to the tip. This will train your thumb and pick to strike the string at the same time, which is key to making the harmonic come alive. This will also train your thumb to NOT touch the string after you picked it (giving harmonics a chance to scream). All this will help you to produce the harmonics more consistently. 
Mistake #3: Not Looking At Your Picking Hand. Most guitar players are so used to looking at their fretting hand while playing, that they completely forget to pay attention to (and look at) their picking hand when practicing pinch harmonics. By looking at the incorrect hand, you cannot identify what you are doing wrong and what needs to be fixed to finally master pinch harmonics. How to solve this problem: 
Stop looking at your fretting hand (when practicing pinch harmonics) and watch your picking hand instead. 
Mistake #4: Not Integrating Pinch Harmonics With Other Guitar Techniques Most guitarists become so focused on learning pinch harmonics in isolation, that they never practice applying this technique into guitar riffs and solos. This makes all the time you invested into mastering pinch harmonics virtually worthless…since you won’t be able to use the technique when it counts. To test how close you currently are to mastering all of the most important lead guitar techniques, take this free guitar technique assessment. How to solve this problem: 
Set aside a portion of your pinch harmonic practice time to practice them in musical contexts… even if you still haven't mastered them in isolation. For example, think of a cool riff you like and implement pinch harmonics into it. As your pinch harmonics get better in isolation, ALL of your guitar playing (where these harmonics are used) will start to sound better as well. Here is an example of how to practice integrating pinch harmonics together with a guitar riff: Hear it. 
Mistake #5: Having Poor Vibrato Without vibrato, your pinch harmonics will sound lifeless. Even though vibrato itself is a completely separate technique, you MUST master it and integrate it with pinch harmonics to make them sound truly badass. Vibrato helps the harmonic to sustain longer and have a more aggressive/screaming sound. Think of pinch harmonics like fire and vibrato like the fuel for it. Every time you light the fire, pour fuel over it and make the flame grow larger!How to solve this problem: Set aside 10-15 minutes per day to practice and train your vibrato, just as you would work on any other guitar playing skill. To learn how to use vibrato to play killer pinch harmonics, read this article about how to master guitar vibrato. 
Mistake #6: Not muting Unwanted String Noise In Your Guitar Playing Controlling unwanted string noise is important no matter what you play, but it is especially important when playing pinch harmonics. Any little sound in the background (that shouldn't be there) will destroy the entire pinch harmonic and the emotion you intend to create with it. How to solve this problem: 
Use a combination of techniques in both picking and fretting hands to mute all strings except the one you are playing. The most effective technique to use for achieving this goal is the thumb muting technique - using the picking hand's thumb to rest on the lower (in pitch strings) and mute them. This is a technique I teach all my online guitar students to master to help them learn to play lead guitar cleanly. To learn more about this (and other) techniques for muting string noise, read this article about stopping guitar string noise.
Now that you know how to avoid the most effective ways to practice pinch harmonics, realize that this technique is only a tiny element of all that goes into becoming a truly awesome lead guitar player. To learn what other areas of your lead guitar technique you must improve to fully reach your musical goals, take a few minutes to test yourself and find out how close you are to mastering electric lead guitar technique. 
This article is courtesy of Tom Hess.
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5 mistakes gutarists make on pitch harmonics

Your lead guitar playing will sound totally badass once you learn to play clean, articulate and screaming pinch harmonics any time you want....

Exploiting your POVs

Exploiting your POVs 
The POVs are often a great tool you can use to initiate special effects/concepts in a story. These effects often are realisable using the first POV which when given a strong character, (I mean its identity) could earn your story the most amazing outlook you could hold on to. Let’s look at a story that begin as this: 
“I was there, but you wouldn’t notice, I was meant to be ‘a nobody” at the party, however I became somebody before it ended. Since I was a nobody at the beginning, you don’t need to know me yet, let’s talk about Sandra as she was the one earning the spotlight at the beginning. Sandra sat at the eastern end of the living room. Guests were scattered all around the mansion where the party held. John walked up to Sandra, he sat in front of her whispered some words and they both stood up and headed for the dance floor seconds later. I stood at a corner watching, the party is becoming boring, I had come alone and hoped not to leave alone. Sandra and john had had their fill of dancing, so they returned to their sit……” 
I can’t possibly finish that story in this article, however I can report on the POV usage over there. The narrator was at that party, however she hasn’t revealed herself. She is creating a kind of mystery, in fact at some point you might seem she is lying, she could have been a cast she will introduce pretty soon, yet she wouldn’t claim the identity of the cast to sustain its mysterious atmosphere. Even I have been claiming she is a he, what if she is some kid. Definitely, our narrator could be anybody trying to manipulate us for the major part of the story until at such peak when the revelation of his identity would be most sensational. 
I had a short story series I started years back, titled the “Telescopes above the clouds” in the series certain gods of known attributions in certain regions would tell a story involving them and the people that serve them as they watch their affairs via their fictitious telescopes above the cloud. The narrator being a god sees what happened above those clouds, narrates them narrates his intervention or their intervention if he eventually sought the help of the other gods. The story had such epic feel as the god’s characters and setting should. Hence the atmosphere of the story was hence captivating enough. Here is an excerpts from one of the stories from the series. 
“Men, they will never stop amazing me with their disbeliefs. My name is Orunmila and if you should ask a Yoruba man who I am, he would ask you to ask the next Ifa priest you see. So that faithful afternoon the sun that glared across the dense forest that I peeped at was a real bother. Falade was there at the lighter entrance of the forest.  He was pointing to the dense undergrowth, just beneath a tall dongoyaro tree, ‘the lion shall appear from there’ he told them. They looked at where he pointed, it was barely lit, and the undergrowth only gets a fraction of the initial sunlight from above. Then beyond the denseness were further darkness, it was however not so dark further inward as the undergrowth faded; but see, nobody dared explore as falade’s mention of a lion was scary enough” 
Once in a while the god (Orunmila) brilliant thoughts breaks the narration in the story and it further created a unique mystique as the existence of the god seemed to run parallel with the happenings on earth. Probably I will share the full story one of these days and the effect the superb POV Identity had on the story would be so glaring. 
The 2nd POV and 3rd POV can be exploited too however a very strong identity, with a compelling voice should be used. 
Choosing your POV correctly can adequately push your story in a direction you yourself would find engaging as you write, however choosing a wrong POV and giving it a boring Identity can give your story a slow momentum and a leprosy of reach. Learn to exploit your POVs adequately and you can move mountains with your stories. 
Abd-afeez Abd-hamid
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Exploiting your POVs

Exploiting your POVs The POVs are often a great tool you can use to initiate special effects/concepts in a story. These effects often ar...

Writer's tutorial entry; the identity of your POV

The identity of your POV 
This is simply talking about the narrator in basic terms. The POV is often the perspective of the narrator or sometimes just the writer. It is the writer’s work to attribute an identity to the narrator and also his perspective. The identity of a narrator can be of two types based on location. 
Within a story narrator: this is used in stories where the protagonists or someone else of notable importance narrates the story. More often, the first POV is best suited for this narration type because you can’t be there within a story and yet regard yourself as a he, or not even give your emotions adequate recognition. What happens eventually is in a longer piece for example, to stick to one “within the story POV” you will need to use multiple identities because there is hardly anyone in your novel that would be everywhere at the same time, especially if your story entails multiple plots and subplots. However another solution can yet be made and that is using multiple POV. Where the within the story narrator uses the first POV where he is involved and uses the third POV where he is not. However such a method can only be used in past tense narration. 
The outside the story narrator, this identity involves narrators that are not present in the story. This category are quite delicate because they do have subcategories. The outside the story narration is most suited for the third person narration than third person. The two sub-category under this is: 
The human narrator:- This narrators takes the form of an human, who is reporting a story that does not involve him. Let’s take for example I wish to tell the story of my best friend. I am human and will tell the story best to my knowledge and based on my judgement. I -as a human narrator- am meant to have limited knowledge as regard the story, though my judgement can be fully incorporated into the story, however I should not over use it as the readers might start to lose interest in a story if they feel the narrator is making too much assumptions and judgements. True life stories are often in this form, if the owner of the story relayed it to someone and the same person decided to relay it back, it becomes a human narrator and can only and always be written in third person perspective, except the writer decided to write in ghost mode for the owner of the real story hence he will write in the first POV hence the real owner of the story can claim the authorship of the state. However in fiction the case is different, there is no strict guideline and a writer might decide to make a tough choice of POV and give him a strange Identity. However it is the second sub-category that I will choose that most writers choose to use, simply because of it limitless ability to defend its knowledge of the story. 
Sovereign narrator:- This narrator often assume the position of some super human being with a sovereign knowledge about a story. Let’s assume the identity of our narrator is that of a dead spirit telling a story about when he was alive. The dead spirit would have hidden knowledge about the story that an ordinary human being wouldn’t. More often than not, a writer would not define his narrator identity. However our intuition would always point us to the direction of the identity of the narrator. In the number one category above, the writer cannot hide and would not hide the identity of a POV except he want to create a special effect of mystery. If not, a narrator that is also present in expected to be public and never hidden in anyways. 
This though is just my own personal classification and this classification helps me beyond, extensive or confusing options. I tend to understand the fact that a supreme narrator if revealed can create a necessary tension and mystery in a novel. In the coming instalment, I will talk about how to fully exploit the dynamic world of POV in your creative writings. Thank you very much for reading. 
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Writer's tutorial entry; the identity of your POV

The identity of your POV This is simply talking about the narrator in basic terms. The POV is often the perspective of the narrator or some...

Writer's tutorial entry; The power of the POVs

You and your POVs 
POVs are very important in creative writing, if you are already a creative writer you will be quite familiar with them. POVs are our point of views, as we all know, we have three point of view and this include the first POV, the Second POV and the third POV. Sometimes our choice of POV can actually influence the mood of any creative prose. Even sometimes multiple POV’s are essential to some pieces, essentially the longer creative proses like novels and novella. Of course multiple POVs is a rare occurrence in short stories and novelette. This is because, the primary essence of multiple POVs is mostly not available in this shorter pieces. I know you will begin to wonder why such essence is missing in such pieces. The reason behind this is the fact that most of the shorter pieces lack the complexities of multiple plots and subplots. When there exists multiple plots we often discover that multiple POVs might be needed especially because our POVs identity might seem human. In other to avoid complexity I need to break down this piece into three parts. The first part would involve weighing the strength and weaknesses of individual POVs and stressing how they impact the mood of your piece. The second part would be on the Identity of our POVs and how they differ across the three POVs. The third part would be about how we can maximize the potential of these POVs in our creative pieces especially longer pieces that needed multiple POVs. It would also further describe how the POVs can create special effects in our creative pieces. 
The first POV: this POV is the perspective of the writer in the first person pronoun, it is denoted with the usage of the “I” pronoun. This POV is having the special ability of creating a sense of adventure and immediacy in such piece it is used in. This POV is often used when a dominant protagonists is used in the piece. The protagonist would be the one telling us this story in his own point of view. This POV has the special strength of pin point emotional effect in pieces. A first POV creates this impression based on the fact that no one knows about ones feeling better than oneself. As such the emotional stability and status of the protagonist as relating to the plot is extensively delved into by the first POV. Hence certain story plots that involves emotional conflicts would have been narrated quite more impressively with the first POV than with the others. Also the first POV brings the reader much more closely to the story and gives them a sense of following the event than the full sense of distance- like a form of reportage- that the third POV gives. However the weakness of the first POV is the limitation of thoughts and ideas, especially since the readers are restricted to just the perspective of the writer. A first person POV creates a sensation which is oriented towards the narrator’s only and since there is just his thoughts, his believes and the immediacy in his narration, his judgement could sometimes be wrong, or he could be selfish in other ways. Hence he could absolutely not be trusted and hence be found wanting in some ways. 
The second POV is quite similar to the first as it even bring the reader much more closely to the story. However it is quite unrealistic to use this perspective throughout a story. The reason for this is the fact that guessing reader’s thoughts, opinions and feelings about key subjects would be of essential virtue in this POV and is a difficult task. Even if you’d be willing to gamble with them, you will easily lose the interests of the reader so far they start realising unrealistic sense of judgements attributed to them from your part. The second POV uses more of the ‘you’ pronoun. However I pronoun is often used too, but in combination with we and the ‘you’ pronoun too. The highlight of the second POV is the creation of a special effect which makes you feel like you are addressing the reader’s directly. Take the following excerpt for example. 
“I had already passed through the cave towards the light that shone from the eastern part, do you really think I am saved? Do you believe it is my way out? I believe we should go for it then, when I am saved we shall hold a party back at my house.” 
The second POV weakness is its vague sensation of prediction and lack of precision as you can’t strike precision with guessing readers perception on your story. 
The third POV is the easiest POV as it is a natural form of reportage as it gives room for a proper review of details before the story telling. Hence it is often written in past tense and with a third person pronoun like he or she. The third POV is easy to use and it often creates a sovereign identity. I will talk more about identity in POV in the next instalment. The third POV will essentially give a natural story telling flow and ability but would distant the readers from the story. 
Next I will be talking about identity in POV. Thanks for reading. 
Abd-afeez Abd-hamid
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Writer's tutorial entry; The power of the POVs

You and your POVs POVs are very important in creative writing, if you are already a creative writer you will be quite familiar with them. P...

Thesaurus entry; the raid

"Jump Hadiza, Wayanma will be proud," The vibrant voice of Haruna sternly pleaded. 
He stood from his chair and violently stepped backward turning suddenly to face the on rushing oriza. 
"You cannot ask her to jump, it doesn't feel right." A restless Haruna gave her a stern look. 
"How dare you question my authority, Audu is no more here, same as Wayanma and the rest. How would they have varnished if not for the failures of all of us and the lack of service of a few like her. She is to be blamed for Wayanma disappearance, she must redeem herself." 
"You should at least pity h..." 
"Haruna, Oriza, it's enough, I will jump." Hadiza wouldn't wait for their reply, she rapidly ascended the cliff and with a daring effort she leaped off it, but she missed the platform. She rammed into the under-log of the platform. She slid through its muslin floor and then she lost control, leading to her fall. The fall always being the result of failed attempts, the show of weakness. 
Everybody watched in horror as she fell off view and heard as she screamed off in horror. Oriza razed off towards Haruna. 
"You think Wayanma will forgive you for this if he ever returns, or his spirit if he fail to return. You think, now that you have the power you can abuse it, Or get drunk or mad over it? You just..." 
"Shut your mouth and listen, she decided her fate not me. I didn't force her to jump. I only told her that honour begot she does. May the gods bless her soul. She at least died in honour; unlike the lot of us cowards that stand alive." 
"Tell that to the kids she left behind. Audu is not yet dead and so I remain the women’s leader. I shall protect them from your irrational rulings." 
"Why are you two rumbling over a mere misfortune, the deed is done, how do we move forward?" The woman and man turn to look at the standing Abdulahi who just spoke. 
They both sat back on their seat, "Abdullahi, I need you to come with me, let's work out a plan. I have a feeling they will return, we must be ready. Oriza, prepare the stronger women for our return. The two men stepped into the elders' hurt. 
After a couple of hours the men returned, they were about briefing their men of their plan when they heard noises. From the corner in front of them appeared the rogues from the mad clan again. "They are back for the rest of us, fight we must, gather your weapons." As soon as Abdullahi shouted the command everybody rose to their feet. Even supposed leaders were trembling, the scare of the on rushing madness was destabilising enough. Soon the men returned with all sort of steel weapons, axes, cutlasses, swords and other steel edges. They clashed with the approaching men, blood for blood, and strength for strength. Soon the mad clan started gaining ground as Haruna's men began to fall. They started retreating seeking to seek refuge in the gloomy belly of Daura forest. However, they were startled when the mad clan stopped attacking, they started retreating and from the cliff side came screams of horror, and Hadiza was standing there with a league of others, indignant, vicious, and effectively spilling blood. 
"The gods favour us", she screamed as they slash through the retreating clowns that attacked them." 
They pursued, pressed and ensured they retrieve their men.
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Thesaurus entry; the raid

"Jump Hadiza, Wayanma will be proud," The vibrant voice of Haruna sternly pleaded. He stood from his chair and violently stepped ...

Poets corner entry; dusk and dawn upon a young desert

A barren prairie took the ultimate journey and left no seed. 
It carcass gazed upon a bare firmament- souless still. 
Its regret upon its spirit, a beauty now forfeited. 
Lush greenness faded amply into a brownish spree. 
Nature is now here, rooted with it's eerie blessing. 
The holy twin-moments visits in simultaneous spree, 
With cloaks and skins of gloomy tints yet of faded glints. 
Folklores preached, tales cursed still, that the gods freaked. 
Watching with hollow eyes a transition of ugly wits. 
Folklores words sounded right, tagging the gods as sick. 
A realm of darkness and that of sun-lit brightness. 
They are the kingdom of the moments. 
One time we shall close our eyes, glad that a moment is here. 
That he shall bless us with a transformed era. 
But many the times had we open our eyes into a familiar expanse. 
A cinnamon expanse that neither darkness nor brightness beautify. 
The moments only brought hopes, dragging them to a peak of height. 
Only had we open our eyes to see black made from brown. 
Or had we  gazed upon brown made from black. 
We'd wish for the firmament's mercy for some tears of joy. 
Yet it laid wasted, azure, with bright bareness. 
We summoned on the gods to please give her her spirit. 
The prairie we once cherished is now our misery. 
But always had we hold her memories in high spirits. 
Maybe one day she shall gain her spirit. 
And dusk and dawn upon this great land. 
Shall be moments to expect some new great forms.
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Poets corner entry; dusk and dawn upon a young desert

A barren prairie took the ultimate journey and left no seed. It carcass gazed upon a bare firmament- souless still. Its regret upon its sp...

Playing guitar better

When you first start playing guitar, you learn that there is a great number of skills and techniques you need to practice to reach your goals. As months and years go by and you practice these elements, you think you are making progress in your guitar playing yet you continue to freeze up when improvising, recording, or playing for others. Worst of all, “learning more things” doesn't seem to fix the problem - you continue to freeze up and make mistakes while playing guitar “when it really counts”. So why is it that your playing doesn't seem to be getting better despite the efforts you put into practicing guitar? The answer is that you are not able to play guitar fluently. What does this mean? It means that, while you may know many things about playing guitar, you are not able to combine and use these elements easily in your guitar playing. 
The biggest reason this problem happens is because most guitar players practice something just to get it right ONCE and then they think they’re done, and want to move on and learn something new. This kills your ability to integrate and use all of your guitar skills fluently, which in turn kills your chances to become a great guitarist. This is similar to a student taking a test at school. Many students try to simply pass the test and they don’t try to actually learn the material. While they may end up passing, they forget everything as soon as the test is over. Don’t be the student whose only goal is to “pass”. Until you learn how to practice guitar effectively, you will never be able to master all aspects of your guitar playing.2 Types Of Guitar Players Who Almost Never Become Great Guitarists who most often fail to reach their goals (despite having the potential to do so) often fall into 2 groups. Guitarists in the first group are not concerned with mastering anything - they only want to learn new things all the time. Having this mind set holds back your guitar playing due to lack of integration of your musical skills (more on this below). Guitarists in the second group are “perfectionists”- they focus on absolute mastery of every individual element of their guitar playing and are afraid to move on to practice something else until the previous item has been mastered. Fact is, you CANNOT master any musical skill in isolation (I explain why in this video about the best way to learn guitar). If you try doing this, at best you will only end up with pieces of musical knowledge that you can’t truly use. Most likely you will give up out of frustration when you realize how much time you are spending trying to master things in isolation (and never getting anywhere).Now that you know what does NOT work, here is the process of practicing that ALL great guitar players go through on their way to true musical mastery of any new skill: 
1.  Begin learning the new skill in isolation to learn it on a basic level, without worrying about application or fluency yet. Most guitar players do this, but they end up spending too much of their practice time on this step and never do the following steps. 
2.  Practice applying the skill you learned in step 1. To practice this, you need to recreate a real-life musical scenario. For example: after you learn a new arpeggio shape, apply it in soloing over backing tracks- creating many guitar phrases that include this new arpeggio. 
3.  Integrate this new skill into all the other aspects of your guitar playing. This is the biggest thing that will make or break your guitar playing fluency. You can work on integration by focusing on several skills at a time and practicing them together. There are hundreds of ways you can do this. For example: ascend an arpeggio using sweep picking and come back down through a scale sequence, or find 10-20 different ways to play the same arpeggio on guitar (integrating the arpeggio with your fret board visualization skills) or add other notes to the arpeggio to achieve a new sound. Other examples of integration could include combining rhythm guitar with lead guitar phrases, or combining string skipping and 2hand tapping, while soloing over a chord progression that changes keys. The possibilities are endless…No matter your overall skill level as a guitarist, you MUST practice integrating your skills together to truly reach your musical potential. Lack of integration is one of the most common problems that guitarists at intermediate level and above suffer from and is one of the most important areas I work on with my online guitar students to help them become awesome musicians quickly. 
4.  Review and refine your new skill. This means that you go back to step 1 and again practice your new skill in isolation, having acquired deeper understanding of what elements of the skill still need to be improved (from applying and integrating it in steps 2 and 3). Then move on to applying the skill in more new contexts and integrating it with other skills/techniques until you are back to step 4 - review and refine. Going through this cycle will help you make giant leaps towards guitar playing fluency. WARNING: you must avoid falling into the “perfectionist” trap of staying at each step for too long. You must also avoid skipping some of the phases just to learn more new things on a surface level that you never truly master. Instead, you should:*.Rotate your exercises when you practice guitar, so that different aspects of your guitar playing are in different phases of mastery at any given time. This will keep your rate of progress very high. To do this right, you need to have the very best and most efficient guitar practice schedules customized specifically for you.*.Work with a master guitar teacher who knows how to pace the flow of new content (so that you never get stuck trying to master any one thing for too long) and who also doesn’t constantly bombard you with new material. *.Understand that getting better at guitar is not a linear process. Instead, your guitar playing fluency is a by-product of the overlap in the 4 areas of guitar playing mastery (isolation practice, application, integration and review). When there is little/no overlap in the 4 areas of musical mastery (as is the case for most guitarists), your level of guitar playing fluency will be minimal - with a huge amount of potential left untapped. Observe the diagram below: Your goal is to maximize the overlap between the 4 areas in the diagram above, so they all reinforce each other and make it possible for you to achieve the highest levels of guitar playing fluency possible. Like this: Now that you know how and why to focus on fluency of your guitar playing, take a few minutes to assess how close you currently are to reaching your musical goals. 
This article is courtesy Tom Hess 

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Playing guitar better

When you first start playing guitar, you learn that there is a great number of skills and techniques you need to practice to reach your goal...

Poet's corner entry: unwritten

Inks of nothingness upon a paper, 
Several minds yelled in whispers. 
I was mistaken for mockery forged in absolute silence. 
Never to be heard, lost to the existence called knowledge. 
This ribbon is black in this darkness. 
It dangles below a simple thread. 
A mysterious veil is ushered into the atmosphere, 
Human sight became useless, mother light just left. 
And we wait unto the procurement of a pronouncement, 
From the mouth of a clueless, 
Our orator with spiritual blindness. 
Ours is not a story, 
We are ordained victims, 
Preached to in sparkling lies and deceits, 
The fake priests read scriptures of devilish pages, 
And we listened, twitching our ears in unison. 
Could lies form music? 
Wondrous is that insanity, 
Which our ears got webbed in. 
Seeming like it's got a vibrant fantasy, 
Where dreams got brimmed with reality, 
Spilling a fluid of fulfilment, 
That moisten the ugly faces of waiting enemies. 
I seek words of wisdom, 
To tell me that, which lurks beyond sight. 
I fantasize colourful insights, 
Realms of fairy delights, 
With frenzy dusts of blazing tail lights. 
Pictures that grew feet of glue, 
Seek my heart to stick each foot. 
Into an hole that fancy beauty. 
And many a hole lay barren, 
Many feet found their foundations. 
Yet, a man will never revel satisfaction, 
Until its path is upon the end of the road. 
Always seeking supernatural, 
To be a tenant in its mansion of mystery. 
The universe might be vast, 
With endless shine and more darkness. 
Little is that known to science, 
There is limit to knowledge, 
Their is always that endpoint of nothingness, 
Much has been written, 
Yet; 
much more remains unwritten.
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Poet's corner entry: unwritten

Inks of nothingness upon a paper, Several minds yelled in whispers. I was mistaken for mockery forged in absolute silence. Never to be he...

Featured profile: J.V Jones

Featured profile entry; J.V Jones 
Julie Victoria Jones is one of my mentor, she was the first author to open my eyes to the wonder of the fantasy world. Her fantasy trilogy title “The book of words” had already been featured on this site. She was born in 1963 in Liverpool, England as the daughter of a pub owner, in her youth she worked as a bar tender and worked for a record label in Liverpool. She currently lives in San Diego, California, where she initially ran an export business and later occupied a position as marketing director. The current publishers of J.V Jones are tor books in the US and Orbit books in the UK. 
Her first novel “The baker’s boy, which was the first book in the book of words trilogy was published in 1995 and the follow up novels “a man betrayed” and “Master and fool” were completed in 1997. Her next work was a standalone novel which was titled the barbed coil. Her next work was a series titled “Sword of shadows”, which consists of five novels. However only four had been released yet and the remaining one is still work in progress. 
THE BOOK OF WORDS 
1 The baker’s boy (1995) 
2 A man betrayed (1996) 
3 Master and fool (1997)
A SWORD OF SHADOWS 
1 A Cavern of Black Ice (1999) 
2 A Fortress of Grey Ice (2002) 
3 A Sword from Red Ice (2007) 
4 Watcher of the Dead (2010) 
5 Endlords was supposed to be published 2015 but has been pushed back. 
I am personally only waiting for A sword of shadow to end before reading it. I’ve had reviews that portrayed this series as an even more intriguing series than the book of words series. 
Whenever the last book gets release, expect museguide to bring it to you. If you missed the book of words review on our site, kindly <a href="http://www.museguide.org/2015/05/featured-masterpiece-book-of-words.html">click here</a> to get it, with download links attached to it. 
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Featured profile: J.V Jones

Featured profile entry; J.V Jones Julie Victoria Jones is one of my mentor, she was the first author to open my eyes to the wonder of the f...

Featured masterpiece: The book of words trilogy

The book of words trilogy by bestselling author J.V Jones is a series of bestselling fantasy series that involve a young boy protagonist who was meant to fulfil a prophecy in the legendary book of words written by a wise man years ago. 
The first book in the series is titled the baker’s boy, in this book; the legendary baker’s boy (the protagonist) named Jack, was an apprentice in castle Harvard. However a strange incidence with burnt bread drove him out of the castle, and that started an adventure, which entwined him, the king’s wicked chancellor, Baralis and the daughter of a rich man Meliandra, who was betrothed to the prince of the kingdom. Jack was caught on the bad side of Baralis and he hence made himself the worst enemy in the kingdom. The first series ended at a point where many questions remained unanswered and many mysteries hanged in the air. The first book hence is such that would always fill the reader with a thirst for book two. 
The second book is titled master and fool and this sequel continues the quest of young jack who by now had discovered he is an extra ordinary human. However it was not easy as a quest as Baralis always stood the greater enemy and Meliandra the great burden. However, he stumbled upon a noble knight in this part, who helped him with this noble quest of his. The second part was even more interesting as the evil empire of the north kingdom was formed, masterminded by the evil genius Baralis. 
The third sequel which is the final book was titled “a man betrayed” it is a charming revelation as it revealed the true identity of jack, the knight, jack murder and the unravelling of the many other mysteries buried within the foundation of the book. The charming revelation was however not only the strength of this sequel as the quest of jack was eventually a 5 star. Aside of some impulsive sexual scenes and vulgar speaking men of certain scenes in the novel; the book is absolutely classic to me and I will give it a 5 star. You can check the link below to download a free e-book of the novel. 
<a href="http://www.datafilehost.com/d/01ca774d">The book of words trilogy</a>
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Featured masterpiece: The book of words trilogy

The book of words trilogy by bestselling author J.V Jones is a series of bestselling fantasy series that involve a young boy protagonist who...