Features vs. Benefits - The Writers For Hire

COPYWRITING 101: FEATURES VS. BENEFITS A good copywriter can instantly identify the difference between a feature and a benefit. Unfortunately, its not uncommon for that difference to get a bit fuzzy in web copy. So, how do features differ from benefits. †¢ Features physically describe what your product or service entails. It might mean a watertight seal, 24-hour service, or 8 GB of RAM. Whatever the case may be, features are the things that make your product or service unique. †¢ Benefits, on the other hand, explain how the feature is useful or beneficial to the customer. Your copy about benefits should help potential customers answer questions like â€Å"why do I need 8 GB of RAM?† or â€Å"how will your 24-hour service help my business?† So, when you’re writing, which do you want to put more emphasis on? The answer is that both features and benefits are very important, but you need to spend more time explaining your benefits. By explaining benefits – and how each benefit affects your customers – you are essentially educating and persuading your customer at the same time. Basically, a feature without a benefit is nothing. When explaining the benefit of your feature, your copy needs to be targeted to your specific audience, to clearly and concisely give readers major insights into the product. One way I like to explain a feature in copy is to lay it out plain and simple. For example: â€Å"Company X’s widget has a glow-in-the-dark dial (FEATURE). This means that  our widget is perfect to use at night and to take with you on camping trips (BENEFIT).† One of my favorite phrases to use is â€Å"this means that,† because it lets you directly translate the benefit of your feature. Another way to help separate features and benefits is to use a chart. You can do this as a preliminary brainstorming exercise to organize your thoughts before you write, or just paste it up on your website as a great visual aid: Feature On-call industry experts Benefit With over 70 years of combined experience, our expert advice helps you solve software issues in minutes. Feature 24-hour service Benefit No matter what time it is or where you are in the world, there’s always someone available to help you troubleshoot  technical issues. Effective copy will clearly outline the features and benefits of whatever you’re selling – and it will convince the customer to buy at the same time. Rev up your homepage, brochure, sales emails, and other marketing collateral by making sure that both your features AND benefits are clearly oriented toward your customers. And, if you’ve got any tips or thoughts about features and benefits, leave a comment and let me know!

The Elite Report Essays - Electronic Music, MIDI, Fanshawe College

The Elite Report Essays - Electronic Music, MIDI, Fanshawe College The Elite Report Music Industry Arts A Two Year Diploma Program Program Code MIA1 Campus Code LC LC - London September Admission Program Description The Music Industry Arts program educates students in all relevant aspects of the contemporary audio industry. The program promotes the professional attitude required to function in the musical, technical and commercial areas of Audio Production Engineering and Business. The program approach is intensively hands-on, with professional media and recording facilities exclusively dedicated to student use. Course curricula include functions of consoles and recorders, digital recording, video interlock, MIDI recording and sequencing, analog/digital techniques, contracts, sales and promotion music publishing, copyright, arranging, music theory, ear training, microphone techniques, studio operation and management. Computer literacy and MIDI techniques relevant to the disciplines of music and post-production recording are offered through theory and practical applications. Career Opportunities This program offers a unique opportunity for learning the skills required for the music recording industry, the post-production field, and general audio industries. The graduate may find career opportunities with sound recording studios, post-production facilities, recording companies, merchandising, touring commercial artists, cruise ships, publishing, management, promotion, sales, MIDI/sound design or studio recording for broadcasting and television. Program Eligibility CriteriaRequired Academic Preparation OSSD with courses at the General Level with: - Grade 12 English Or BTSD-Level 4 Certificate Or Ontario High School Equivalency Certificate (GED) Or Mature Applicant with standing in the required course stated aboveRecommended Academic Preparation - Courses in Communications Technology, Keyboarding, Computer Studies, Marketing, Development of Entrepreneurs, Analog and Digital Electronics, Computer Technology - Interfacing.Recommended Personal Preparation It is an advantage to the student to have a broad background in music theory, knowledge and appreciation of all types of music, an interest in the recording industry and its role in today's entertainment field, experience with computer and/or synthesizer/MIDI applications.Applicant Selection CriteriaWhere the number of eligible applicants exceeds the available spaces in the program, the Applicant Selection Criteria will be: A. Preference for Permanent Residents of Ontario. B. R eceipt of Application by February 1st. C. Achievement in the Required Academic Preparation. D. Achievement in the Recommended Academic Preparation. E. Assessment of personal suitability based on: . Supplementary Form Approximate Costs (2000/2001)Fees for: Levels 1 & 2 Levels 3 & 4 $2143.90 $2143.90 Books and Supplies: $2613.00* $2087.00* *this fee includes access to facilities and equipment in the program Recording Industry -Digital Applications A One Year Post-Graduate Certificate Program Program Code MRM2 Campus Code LC LC - London September Admission Program Description The Digital Applications program is a post-graduate program which provides intensive practical instruction and application opportunities for acquiring proficiency in the MIDI/digital multi-media field through hands-on equipment application and process-oriented instruction. Career Opportunities Career opportunities with sound recording studios, record companies, independent production houses and other 'sound related' industries, music publishing conglomerates and anywhere that 'sound' production and/or mixing is required. Program Eligibility CriteriaRequired Academic Preparation Music Industry Arts Diploma Or An equivalent qualification from another institution as judged by the College Or Professional background and experience assessed by the College to be equivalent to the aboveApplicant Selection CriteriaWhere the number of eligible applicants exceeds the available spaces in the program, the Applicant Selection Criteria will be: A. Preference for Permanent Residents of Ontario. B. Receipt of Application by February 1st. C. Achievement in the Required Academic Preparation. Students applying for the Recording Industry - Digital Applications program with a two year Music Industry Arts Diploma should have obtained a 'B' average in all MIDI and RCRD or PROD courses in the second year of the Music Industry Arts program at Fanshawe College, or a 'B' average in all MIDI courses from another institution. Applicants with less than a 'B' average will be considered only on the recommendation of the Program Chai r. D. Preference will be given to graduates of the Fanshawe College Music Industry Arts program, with most recent graduates having priority.Note: Applications received by February 1st will be guaranteed consideration. Applications received after February 1st will be considered only if places remain available in the program. Approximate Costs (2000/2001)Fees for: Levels 1 & 2 $2143.90 Books and Supplies: $2082.00

Object-Oriented Applications DB One Research Paper

Object-Oriented Applications DB One - Research Paper Example With the exacerbating software systems’ sophistication and sizes, the design of such systems focuses on more than just the algorithms and computational data structures to encompass system structure specification amid the underlying structural issues (Clements, 2010). This process defines what software architecture is all about. Gross organization of system structures in software has been a long living problem is software design. Software architecture is tailored towards addressing the underlying structural issues in designing and developing software. Since gross organization of system structures is just but of the primary issues that software architecture seeks to solve, there are a number of other evident issues. Controlling software system structures in the global context is another primary issue. In this regard, software architecture is, therefore, a procedural undertaking that seeks to design software systems in such a way that the structure of the systems can effectively be controlled. This means that software architecture is a global undertaking in the design and development of software. Software architecture also primarily encompasses realigning communication protocols, synchronize software designs, enhance data access, scale software performance, and revolutionize design elements in software development (Bass, Clements & Kazman, 2003). Role of Software Architects Software architects play numerous and dynamic roles in the IT industry, based on their field of specialization and the level of software design they undertake. One of the primary roles of software architects is the development of software designs that are macro-level in nature. Software architecture is applied across wide ranges of usability, from an individual context aspect to an organizational level. The use of software designs across the globe differs in terms of application and level of use. For this reason, macro-level designs become critical to account for by software architects. On the same note, inter-relating applications in software designs calls for understanding and documenting the applications’ relationships, and software architects play an active role in this pursuit. Addressing design issues in software development is not the only focus of software architects. They also undertake code reviews and mentoring in software architecture (Bell, 2008). Software architects in most cases employ team work in their undertakings for effective and efficient outcome that meets the expectations outlined by pursued goals and objectives. In reviewing codes and carrying out mentoring programs on software designs, it is easy to determine and point out areas of software architecture that need to be improved or advanced. On the same note, loopholes in the process can be effectively addressed and can consequently lead to the realization of an improved software architecture pursuit. Quality assurance and provision of relevant information to users of architectural so ftware also falls under the docket of software architects’ role. Over and above the outlined roles, application design and application security constitute the role of software architects in software design and development (Javier & Mario, 2005). Example of Software Architecture Role Software architecture employs massive data computation in every aspect of software design and development software structures. A software architec

CEO Overconfidence and Corporate Investment Essay

CEO Overconfidence and Corporate Investment - Essay Example The paper is divided into seven sections, in the first section; Ulrike and Tate have developed a model that predicts that managerial overconfidence leads to positive investment-cash flow sensitivity. The second part they give the data that they used and the third section explains the building of overconfidence instruments and the substitute instruments. The fourth section gives the evidence they collected that supports the idea that CEO’s overconfidence increases the sensitivity of investment to cash flows, the fifth section deals with evidence to support the proposition that CEO overconfidence is more in the equity dependent firms. Section 6 examines the relationship of CEO’s overconfidence to other personal characteristics and section seven is the conclusion. In the first section, they use a 2 period model that shows the effects of a CEO’s overconfidence on a firms investments in an well-organized market. In coming up with the model, they assume that asymmetry of information and agency relationships does not affect the investment decisions of a manger and that the only factor affecting the decisions is the CEO’s overconfidence. ... In section 2, the paper uses data of 477 large publicly traded firms in the United States between the years 1980 and 1994, in order to compare the data on how the CEO’s managed their personal account and the firms account, more information was derived from COMPUSTAT database. The data measured include investments as capital expenditure, cash flow as earnings before extra ordinary items plus depreciation, and capital as property, plants and equipments, and investments and cash flow are normalised with the beginning of the year capital. In addition, information on the CEO’s employment histories is collected where the CEO’s are classified into three groups based on their education history, that is, those with technical education, those with finance education and those with other degrees In the results, the y found out that the out of the 113 CEO’s who qualified the holder 67 selection criteria, 115 of them displayed characteristics of overconfidence in their personal portfolios. From the results there were minimal cases correlation between overconfidence and the firm or the CEO’s characteristics, this relationship was found to be opposite for different subsamples or the different measures of overconfidence used. Some of the alternative explanations to the measures that Gate and Ulrike gave include the following. Inside information, this is where a CEO may decide to lower risk exposure of a company due information that he has on the future stock prices, this information will also influence the investment cash flow sensitivity. The second alternative is signalling where a company would be passing information to the capital markets that its prospects are better than of rival firm, signalling in most

Support the view that Shakespeare Essay Example for Free

Support the view that Shakespeare Essay Support the view that Shakespeare is examining different kinds of love and marriage in this play?  In the play As You Like It there are quite a few different types of love. There are four sexual relationships in the play, all of which have different varieties, or examples of love  The main couple in the play are Rosalind and Orlando. They first meet in a wrestling match that Orlando has been entered in against Charles. Rosalind notices him for his good looks and youth, and because of this is concerned he will be hurt. Orlando wins the match though and as a token Rosalind gives Orlando her necklace. Orlando instantly falls in love with Rosalind when he first sees her and is stuck for what to say to her, Can I not say, I thank you? My better parts are all  Thrown down, and that which here stands up is but a  Quintain, mere lifeless block.  Rosalind then runs off into the forest of Arden dressed as a man called Ganymede. Orlando also flees to the forest where he writes ridiculous love poems and posts them on trees for Rosalind to find. Rosalind, dressed as Ganymede, then becomes friends with Orlando and gives him advice on ways to go about asking her to marry him. She does this by pretending to be Rosalind while dressed as Ganymede. This is so Orlando does not recognise it is her. This can get quite confusing at times. She finally reveals to him that it has been her all along though and they get married straight away. This is the first kind of love where both people love each other and no one else. This is the most simple love situation in the poem because it has no complications of people loving other people, or them not being allowed to love each other.  The couple that show the least romance throughout the play is Silvius and Phebe. Silvius is a kind-hearted shepherd who lives in the Forest of Arden. Phebe though is a rough shepherdess who finds Silvius annoying. The reason for this is because Silvius is deeply in love with Phebe, and she has rejected him many times. Phebe just ignores him though and because of this Silvius keeps on asking her to love him,   Sweet Phebe, do not scorn me, do not, Phebe.  Say that you love me not, but say not so in  Bitterness. The only person Phebe finds attractive in the play is Ganymede, who is actually Rosalind. She writes a letter to Ganymede asking him to marry her, and is rejected quite obviously. As a result of this Phebe is forced to marry Silvius in the end because she has no one else who likes her. I think the aspect of love that is showed her is a cruel side of love. The reason I think this is because Phebe is virtually forced to marry Silvius when she does not want to. Silvius though is overjoyed because she is the love of his life and marrying her is his dream. This is unfair on Phebe though because she does not love him, but she has no one else so has to go along with it. Celia and Oliver are the most surprising couple in the play I think. This is because they meet very close to the end of the play, and instantly fall in love with each other. Another reason for this is that Celia is a very kind, likeable woman throughout the play. Oliver on the other hand changes his personality. At the beginning of the play he is a very nasty man who says he hates his brother because of his good looks and his ability to be liked by everyone he meets. His personality changes though when he is sent into the forest to find his brother, Orlando, by Duke Frederick. He finds Orlando and then he meets Celia, who he instantly falls in love with. He then makes the story up of saving his brother from a lion and his personality completely changes. Twas I, but tis not I. I do not shame to tell you  What I was, since my conversion so sweetly tastes,  Being the thing I am.  He turns into the complete opposite of his old personality, and becomes very nice. This also attracts Celia to him, as well as her thinking he is good looking. This attraction between the two of them means they become a couple and get married too.  This is the same kind of love as Orlando and Rosalind experienced. This is where they have no complications and both of them love each other. They also fall in love with the first sight of each other, as did Rosalind and Orlando. The next couple I am going to examine from the play is the pairing of Touchstone and Audrey. This is possibly the strangest couple in the play. My reason for thinking this is that they are completely different people, and have very different backgrounds. Touchstone is a court jester, and has lived a sophisticated courtly life. Audrey on the other hand is a country girl who has been brought up on a farm. Even though there are these differences, the two still get married. They were meant to be wed quite early into the play, but this did not go as planned and they did not. They did how ever talk more about it and finally got married at the end of the play.

Winston Churchill Essay -- essays research papers

Winston Churchill was born on November 30, 1874, at Blenheim Palace, the famous palace near Oxford that was built by the nation for John Churchill, the first duke of Marlborough. Blenheim meant a lot to Winston Churchill. It was there that he became engaged to his wife, Clementine Ogilvy Hozier. He later wrote his historical masterpiece, The Life and Times of John Churchill, Duke of Marlborough. With English on his father's side and American on his mother's, Sir Winston Leonard Spencer Churchill expressed the national qualities of both his parents. His name proves the richness of his historic background: Winston, after the Royalist family, who the Churchill’s married before the English Civil War; Leonard, after his remarkable grandfather, Leonard Jerome of New York; Spencer, the married name of a daughter of the first duke of Marlborough, from who the family descended; Churchill, the family name of the first duke, which his descendants maintained after the Battle of Waterloo. All these strands come together in a career that had no resemblance in British history for richness, length, and achievement. Churchill took a leading part in laying the foundations of the welfare state in Britain, in preparing the Royal Navy for World War I, and in settling the political boundaries in the Middle East after the war. In World War II he began as the leader of the United British Nation and Commonwealth to resist the German domination of Europe, as an inspirer of the resistance among free people, and as a prime architect of victory. In this, and in the struggle against communism later, he made himself an essential link between the British and American people, for he saw that the best defense for the free world was for the English-speaking people to come together. (Down 133). Strongly historically minded, he also had predictive foresight: British-American unity was the message of his last great book, A History of the English-speaking Peoples. He was a combination of a soldier, writer, artist, and statesman. He was not so good as a party politician. He stands out not only as a great man of action, but as a writer of it too. He was a genius; as a man he was charming, happy, and enthusiastic. As for personal faults, he was bound to be a great egoist; so strong a personality was likely to be overbearing. He was something of a gambler, always too willing to take risks. In his ... ...ed across the Atlantic with a supply of weapons that made a beginning. On Oct. 26, 1951, at the age of 77, he again became prime minister, as well as minister of defense. As the Conservatives held a very small majority and Britain faced very difficult economic circumstances, only the old man's willpower enabled his government to survive. He held on to see the young Queen Elizabeth II crowned at Westminster in June 1953, attending as a Knight of the Garter, an honor he had received a few weeks earlier. In 1953, also, he received the Nobel Prize in Literature. On April 5, 1955, in his 80th year, he resigned as prime minister, but he continued to sit in Commons until July 1964. Churchill's later years were relatively calm. In 1958 the Royal Academy devoted its galleries to a retrospective one-man show of his work. On April 9, 1963, he received, by special act of the U.S. Congress, the unique honor of being made an honorary American citizen. When he died in London on Jan. 24, 1965, at the age of 90, he was acclaimed as a citizen of the world, and on January 30 he was given the funeral of a hero. He was buried at Bladon, in the little churchyard near Blenheim Palace, his birthplace.

Kinesthetic Learning

When I first read this assignment, I wasn’t sure what to expect. I remembered back to when my children were in preschool, which was sixteen and eighteen years ago, and was struck by the realization that I couldn’t recall them learning kinesthetically. It seemed to me that the only time I really saw them moving was during designated play time. I was very pleased when I walked into my church preschool, for a day of observing and volunteering, and the first thing I saw was the children learning through movement.In an effort to learn their numbers, they were all standing in a large circle, with Teacher Karla standing in the center holding a stack of cards with a number printed on each. She passed a ball to one student and then held up a card with the number four (4) on it, and the little boy bounced the ball four times and then passed the ball to the next child, who looked to the teacher for his number, which was a seven (7). He had a little more trouble and only bounced th e ball six times because he forgot the number five.He passed the ball on to the little girl next to him, who looked to the teacher, who still held up the number seven (7), due to the mistake of the previous child. I wasn’t sure how that would work, but the little girl bounced the ball seven times, and the boy, responded with â€Å"Oh yeah, I forgot five. How come you didn’t tell me Teacher? † Teacher Karla responded to this by explaining that we don’t always just learn from the teacher and that we can learn from each other, as well.Later in the day, I was pleasantly surprised to see that teacher Karla was using the Letter Mats that I had created for her a few years ago when I helped out in the preschool. The Letter Mats are large laminated mats with big letters written on them. The letters are not in alphabetical order and each letter is written more than once on each mat. Because this was an activity that I had come up with, Teacher Karla asked me to lea d. I stood in front of the mats and called out a letter. Each child then jumped on that letter on the mat in front of them. I then called out another letter and they jumped from letter to letter.We continued this until they had jumped from A to Z, with a few mess ups in between, but for the most part, most of the children jumped to the right letters most of the time. Chapter 2, Question While volunteering at the preschool, I have a lot of opportunity to watch the way different music affects the children’s moods and behavior. I wasn’t too surprised by my observations because music has always been something I have loved and when I ran an in home childcare, I used different forms of music all of the time. While at the preschool, I observed teacher Karla change the music frequently, depending on the mood she was trying to create.When they were playing the number and ball game, there was lively music playing, with children singing strong and loud. This music seemed to energ ize the children. When it was art time, and the children were painting, she slowed the music down and, while the children still chatted while doing their painting, they were much calmer than they had been earlier. When we did the activity with the Letter Mats, we listened to children singing the alphabet. The children really enjoyed singing along and I think because it was an alphabet song and coincided with our activity, it helped them stay on focus.