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The Romantic journey was usually a solitary one. Although the Romantic poets were closely connected with one another, and some collaborated in their work, they each had a strong individual vision. Romantic poets could not continue their quests for long or sustain their vision into later life. The power of the imagination and of inspiration did not last. Whereas earlier poets had patrons who financed their writing, the tradition of patronage was not extensive in the Romantic period and poets often lacked financial and other support. Keats, Shelley and Byron all died in solitary exile from England at a young age, their work left incomplete, non-conformists to the end. This coincides with the characteristic Romantic images of the solitary heroic individual, the spiritual outcast 'alone, alone, all, all alone' like Coleridge's Ancient Mariner and John Clare's 'I'; like Shelley's Alastor, Keats's Endymion, or Byron's Manfred, who reached beyond the normal social codes and normal human limits so that 'his aspirations/Have been beyond the dwellers of the earth'. Wordsworth, who lived to be an old man, wrote poems throughout his life in which his poetic vision is stimulated by a single figure or object set against a natural background. Even his projected final masterpiece was entitled The Recluse. The solitary journey of the Romantic poet was taken up by many Victorian and twentieth-century poets, becoming almost an emblem of the individual's search for identity in an ever more confused and confusing world.

Ribbons I can see the artwork in my head, a dark background with a girl's naked body, melting from her hips down into ribbons of red. The image fits this song to a T. It's a bout breaking down and finding yourself in sex. I think Naomi started writing it before she'd ever had any. Only virgins are this dirty.

The writers I most enjoy reading, even in gritty, down-to-earth genres, have a touch of the poet in them; they can create original, evocative images and make words do things they hadn’t known they could. Writing my first novel left me feeling that the most important quality for a writer is empathy, the ability to see the world through the eyes of someone from a vastly different background. Especially, to create engaging villains, you have to see how the world makes sense from their point of view, even if it’s the polar opposite of yours. For me, a good villain is one who makes the reader ask, “If I had the same experience as this person, can I be absolutely sure I wouldn’t have done the same things?

It is possible that the psalmist and Jeremiah both describe Israel’s worship of idols as an exchange of their glory for that of the idols. Following this, Morna Hooker suggests that the glory in Romans 1:23 is Israel’s, as it is in the background texts. She writes, “δόξα may here . . . refer not only to the glory which God possesses in himself, but to that same glory in so far as it was originally possessed also by man.

Product: •What is the product? •Who is it for? •What does it do? •How does it work? •How do people buy and use it? Benefits: •How does the product help people? •What are its most important benefits? Reader: •Who are you writing for? •How do they live? •What do they want? •What do they feel? •What do they know about the product, or this type of product? •Are they using a similar product already? Aim: •What do you want the reader to do, think or feel as a result of reading this copy? •What situation will they be in when they read it? Format: •Where will the copy be used? (Sales letter, web page, YouTube video, etc) •How long does it need to be? (500 words, 10 pages, 30 seconds, etc) •How should it be structured? (Main title, subtitles, sidebars, pullout quotes, calls to action, etc) •What other types of content might be involved? (Images, diagrams, video, music, etc) Tone: •Should the copy be serious, light-hearted, emotional, energetic, laid-back, etc? Constraints: •Maximum or minimum length •Anything that must be included or left out •Legal issues (regulations on scientific or health claims, prohibited words, trademarks, etc) •How this copy needs to fit in with other copy that’s already been written, or that will be written in the future •Whether the copy will form part of a campaign, so that different ideas along the same lines will be needed in future (see ‘Take it further’ in chapter 9) •Which countries the copy will appear in (whether in English, or translated) •SEO issues (for example, popular search terms that should feature in headings) •Brand or tone of voice guidelines (see ‘Tone of voice guidelines’ in chapter 15) Other background information about: •The product (development history, use cases, technical specifications, distribution, retail, buying processes, buying channels, marketing strategy) •The product’s market position (price point, offers and discounts, customer perceptions, competitors) •The target market (size, history, typical customer profile, marketing personas) •The client (history, current setup, culture, people, values) •The brand (history, positioning, values) Project management points: •Timescales (dates for copy plan, drafts, feedback, final copy, approval) •Who will provide feedback, and how •Who will approve the final copy, and how •How the copy will be delivered (usually a Word document, but not always) These are only suggestions.

This generation grew up constantly reminded that they lived in the greatest country in the world, the land of the free, with liberty and justice for all its citizens. Yet, as they matured, members of this generation found a disturbing disparity between this popular American self-image and actual reality. They found that many people in this land—women and certain racial minorities—were, by law and custom, definitely not free. By the sixties the new generation was inspecting closely, and many were finding other disturbing aspects of the United States’ self-image—for instance, a blind patriotism that expected young people to go into a foreign land to fight a political war that had no clearly expressed purpose and no prospect of victory. Just as disturbing was the culture’s spiritual practice. The materialism of the previous four hundred years had pushed the mystery of life, and death, far into the background. Many found the churches and synagogues full of pompous and meaningless ritual. Attendance seemed more social than spiritual, and the members too restricted by a sense of how they might be perceived and judged by their onlooking peers. As the vision progressed, I could tell that the new generation’s tendency to analyze and judge arose from a deep-seated intuition that there was more to life than the old material reality took into account. The new generation sensed new spiritual meaning just beyond the horizon, and they began to explore other, lesser known religions and spiritual points of view. For the first time the Eastern religions were understood in great numbers, serving to validate the mass intuition that spiritual perception was an inner experience, a shift in awareness that changed forever one’s sense of identity and purpose. Similarly the Jewish Cabalist writings and the Western Christian mystics, such as Meister Eckehart and Teilhard de Chardin, provided other intriguing descriptions of a deeper spirituality. At the same time, information was surfacing from the human sciences—sociology, psychiatry, psychology, and anthropology—as well as from modern physics, that cast new light on the nature of human consciousness and creativity. This cumulation of thought, together with the perspective provided by the East, gradually began to crystallize into what was later called the Human Potential Movement, the emerging belief that human beings were presently actualizing only a small portion of their vast physical, psychological, and spiritual potential I watched as, over the course of several decades, this information and the spiritual experience it spawned grew into a critical mass of awareness, a leap in consciousness from which we began to formulate a new view of what living a human life was all about,

As many Americans watched Ken Burns’s The Civil War in 1990 as watched the Super Bowl that year. And all Burns did—not to minimize it, because it’s such a feat—is take 130-year-old existing information and weave it into a (very) good story. Burns once described perhaps the most important part of his storytelling process—the music that accompanies images in his documentaries: I went into old hymnals and old song books and I had someone plunk them out on the piano. And whenever something hit me I’d go, “That one!” And then we’d go into a studio with a session musician and probably do thirty different recordings. Burns says that when writing a documentary script he will literally extend a sentence so that it lines up with a certain beat in the background music; he will cut a sentence to do the same. “Music is God,” he says. “It’s not just the icing on the cake. It’s the fudge, baked right in there.

If we want them to buy a box of expensive chocolates, we can first arrange for them to write down a number that’s much larger than the price of the chocolates. If we want them to choose a bottle of French wine, we can expose them to French background music before they decide. If we want them to agree to try an untested product, we can first inquire whether they consider themselves adventurous. If we want to convince them to select a highly popular item, we can begin by showing them a scary movie. If we want them to feel warmly toward us, we can hand them a hot drink. If we want them to be more helpful to us, we can have them look at photos of individuals standing close together. If we want them to be more achievement oriented, we can provide them with an image of a runner winning a race. If we want them to make careful assessments, we can show them a picture of Auguste Rodin’s The Thinker.

Marcus studied those NASA pictures for hours, the gorgeous Hasselblad pictures of men on the moon and the pictures of Jupiter’s turbulence. Since Newton’s laws apply everywhere, Marcus programmed a computer with a system of fluid equations. To capture Jovian weather meant writing rules for a mass of dense hydrogen and helium, resembling an unlit star. The planet spins fast, each day flashing by in ten earth hours. The spin produces a strong Coriolis force, the sidelong force that shoves against a person walking across a merry-go–round, and the Coriolis force drives the spot. Where Lorenz used his tiny model of the earth’s weather to print crude lines on rolled paper, Marcus used far greater computer power to assemble striking color images. First he made contour plots. He could barely see what was going on. Then he made slides, and then he assembled the images into an animated movie. It was a revelation. In brilliant blues, reds, and yellows, a checkerboard pattern of rotating vortices coalesces into an oval with an uncanny resemblance to the Great Red Spot in NASA’s animated film of the real thing. “You see this large-scale spot, happy as a clam amid the small-scale chaotic flow, and the chaotic flow is soaking up energy like a sponge,” he said. “You see these little tiny filamentary structures in a background sea of chaos.” The spot is a self-organizing system, created and regulated by the same nonlinear twists that create the unpredictable turmoil around it. It is stable chaos.

Once upon a time ago, you loved me in Photoshop. When I was monochromatic, you gave me texture. You went through my layer mask and hit......'Reveal All'. I remember when you stared at me like I was saturated; but, sometimes I don't remember that once upon a time ago without seeing your background image losing its magic lens.