If you want to write an article here are some easy steps, and when you will follow you will able to write a best article as you want.

STEP 1: SELECT YOUR TOPIC
.
Choose a topic that interests you enough to focus on it for at least a week or two. If your topic is broad, narrow it. Instead of writing about how to decorate your home, try covering how to decorate your home in country style on a shoestring budget. That’s more specific and, as such, easier to tackle.

Then write a rough, rough draft, including everything you can think of. Stay loose, avoid getting analytical, and enjoy the process of sharing what you know. When you’re done, you’ll have the bare bones of an article that only you could write. Then put it aside for a while.

STEP 2: ADDRESS YOUR AUDIENCE’S NEEDS.

Now, come back to your piece. Switch gears and imagine you’re the reader of this article. Pick three words to describe the audience you want to address (e.g., professionals, single men). As this reader, what questions would you like answered? You might not know the answers yet, but list the questions anyway; you’ll find answers in the next step.

STEP 3: RESEARCH.

Research will ground your article in fact. Good details to include with your how-to are:

Statistics
Quotes by well-known people
Definitions
Anecdotes (short, illustrative stories about yourself or someone else)
Quotes and examples from people like the reader or from popular books on the subject
References to other media (film, television, radio)
Helpful tools, resources or products (if many, consider creating a sidebar)
References to local venues or events (if for a regional/local publication).
Collect everything you have gathered and put it in a folder, an electronic document, a notebook or whatever you like. Don’t forget to keep track of sources in case you are later asked by an editor to verify them. You may want to sift through your research at a separate sitting from gathering it. Or just go ahead and sprinkle your research in right when you find it. It’s a lot like cooking—play around until you feel you have it “just right.”

STEP 4: TIGHTEN YOUR DRAFT.

Keeping your audience in mind, write a tighter draft incorporating the new supporting information you’ve collected. Sometimes what you’ve learned in Steps 2 and 3 may compel you to start over with a completely fresh draft. Or you may just want to revise what you have as you proceed, retaining a nice conversational tone by directly addressing your audience.

This time when you read your draft, ask yourself: Is it working? Is it too general, too lightweight, uninteresting, unclear or choppy? If so, comb some of your favorite publications for how-to articles. What techniques are those writers using that you might employ?

STEP 5: MAKE IT SPECIFIC.

Double-check to see that you’ve included every pertinent step in the process. How-to articles have to be thorough. You want your reader to walk away knowing exactly how to make that Thanksgiving dinner on a shoestring budget, execute that rugby tackle or locate great accommodations.

If your narrative goes on and on, or off in too many directions, break it down into key points indicated with subheads (as in this article). Synthesizing complicated information and breaking it down into steps is especially crucial for online writing, and is also a trend in print.

STEP 6: READ, REVISE, REPEAT.

Read the draft of your how-to article out loud to a supportive friend. Then, ask her a series of questions: Does she now understand the process? Are there any steps missing? Is there anything else she would like to know about the subject? Could she do the task herself? With your friend’s suggestions in mind, use your best judgment in deciding what changes, if any, need to be made.

Here’s a quick list to help you catch errors or omissions:

Did you adequately describe the ingredients/supplies needed in order for the reader to complete the task?
Did you include all the important steps?
Is the order logical?
Did you use words that indicate sequence: first, next, then?
Did you warn readers of possible pitfalls?
Rewrite, read aloud, rewrite, read aloud, rewrite, find a proofreader and, only when you’re satisfied you’ve written an effective how-to article, submit your piece to an appropriate publication with a short cover letter.

  by Christina Katz.
How I can write a bestselling novel?

Please consider the following helpful tips. These will make it easier to get your stories or novels published. These tips will help you write good fiction in general.


Mechanics
1.     Show Not Tell

It's better to show through a character's actions than "tell" by having the narrator describe. Please do not "tell."

Example 1: "Garth became nervous" is "telling." It is better to "show" with: "Garth's hands trembled."
Example 2: "Garth did not want to go down the hall with the Major" is "telling." It is better to "show" with: "What?" Garth said. "There's no way in hell I'm going with you!"


2.     Body Movement

Occasional reference to body movement and scene interaction is important so that characters are not disembodied talking heads. It's also important to occasionally use body movement before a person talks, in order to establish who is talking.

Example:
"When are you going to leave for France?" John asked.
could be cast as:
John took a slow breath. "When are you going to leave for France?"
(Many times beginning authors make it hard to figure out who is talking, but a quick reference to body movement before the speaker speaks makes it all clear.)


3.     Short Better Than Long

In real life, people often talk in short sentences and phrases, rather than in long drawn-out sentences with big words. Another dialog tip: use contractions often. For example, a character may be more apt to say "I'll" than "I will."

4.     Break the Dialog

Always insert a "he said" or "she said" as early as possible into a line of dialog (if a "he said" is even needed at all).

Example:
Never do: "Yes, I will kill him, but not until you buy the peaches for dinner," he said.
Instead do:
"Yes," he said, "I will kill him, but not until you buy the peaches for dinner."


5.     Use Active Voice

Don't say: "The paper was placed on the wall by the doctor." Use active voice: "The doctor placed the paper on the wall."

6.     Avoid Omniscient Narrator

Books have more immediacy if you stay within one character's head and therefore the narrator does not have knowledge of what other people are thinking. For example, if you are in Jake's head, we are in Jake's head for most of the book. We can't suddenly know how Melinda is feeling. Jake doesn't read her mind. We can suggest how she feels through Jake's opinions and what he sees and hears, and what she says and does. (Some people use an omniscient narrator, but the best books avoid it.)

7.     Don't Rush The Scene

If a scene sounds rushed, with too little attention to detail and texture, then more words are needed to draw out the action and suspense.

8.     Natural Dialog

If you are unsure if the dialog sounds natural, read it out loud to yourself. This is a great way to make sure the dialog is natural.

9.     Involve All Senses

To really get the reader involved, try to stimulate more of the reader's senses. For example, if you've gone ten pages without stimulating the reader (and character in the book) with an odor, or tactile feeling, sound, or taste, the book will have less immediacy.

10. Use "Said"

I notice some beginning writers seem to dislike using "said" and try to replace the word "said" with words like commanded, remarked, uttered, began, etc. Perhaps they feel that too many "saids" stick out. However, you don't have to be afraid of using too many "saids." In fact, it is much worse to try substitutions. The best writers use "said" almost all the time and let the dialog convey the meaning. For example,

"Get out of here now!" he commanded.
is much worse than
"Get out of here now!" he said.
The word "commanded" is an unnecessary distraction. In any case, it's obvious the sentence is a command. When readers read "said", their eyes barely pause. The "said" goes almost unnoticed. This is what you want. Replacement words, such as "remarked", stick out obtrusively, which is what you don't want. For these reasons, some authors don't even use "he asked" for questions; rather they do: "Where is it?" he said.



11. Don't Begin To

Don't have your characters "begin to do something," "try to do something," and so forth. Just have them do it. Example: "Mary began to skip down the block." Change to "Mary skipped down the block."


12. Avoid "as he"

Avoid excessive "as he" constructs. Example: "Mary turned on the TV as she thought all the time about Joe." Change to: "Mary turned on the TV, thinking all the time about Joe." Or, better yet: "Mary turned on the TV and thought about Joe."


13. Provide Character Reactions

Example: When something is said or done to a character that is out of the ordinary, have the character respond. New writers often forget to show the responses of characters before moving on with the plot.

     
       14. Which or That?

Use "which" with a comma when the phrase seems as if it could easily be set off with parentheses and make sense. Examples with "that" and "which": 1) I like dogs that bark. 2) I like the German Shepherd species, which has pointed ears, a tan coat, and teeth that rip.




Additional Mechanics
1.     "Like" or "As If"
The word "like" should not be used preceding a clause with a subject and a verb. Examples:

It felt like a furry ball.
It felt as if a furry ball rolled around in his stomach.

2.     Split Infinitive
Some publishers ask that you don't put an adverb between "to" and "verb."
Wrong: "to carefully create." Correct: "to create carefully." (However, I tend to disregard this rule whenever it sounds "wrong" to my ear. You can usually ignore this rule, too.)

3.     Wordiness
Reduce wordiness by changing:
"stooped down" to "stoop"
"rose up" to "rose"
"penetrated through" to "penetrate"
"caught sight of" to "saw"
"in the event that" to "if"
"at the present time" to "now"
etc.

Also change:

"towards" to "toward"
"besides" to "beside"

4.     To Lie/To Lay
The verb form of lay takes an object, and lie does not. Example:

He laid the shovel on the ground.
He wanted to lie on the ground.

5.     Since/Because
"Since" should be used when time is involved.
I have been sad since you arrived.

Use because when implying a cause.
I have been sad because my house burned down.

6.     Each Other/One Another
"Each other" is used when you refer to two people. "One another" is used when you refer to three or more people.

Example: Mindy and John bumped into each other.

7.     Participial Phrases
Modifying phrases that start with verbs ending in"ing" or "ed" require a comma before the phrase.

He pushed the ball, using a can of peaches.

8.     Whoever/Whomever
If you can't figure out when to use whoever or whomever, substitute the word "he." If it sounds better to use "him," than use whomever. Is 1 or 2 (below) correct?

1. It was as if whoever had killed them....
2. It was as if whomever had killed them.... "It was as if he" sounds better than "it was as if him," so use whoever.

9.     Further/Farther
Farther is used to refer to physical distance.
She runs farther than I do.
Further is an adverb meaning to a greater degree.
I want further training.

10. Commas and Adjectives
Separate two or more adjectives with commas if each adjective modifies the noun equally.
They are brave, studious students.
This was a beautiful Persian carpet.
(Here "beautiful" modifies the Persian carpet.)

11. Rise/Raise
Use rise (rose, risen) when you mean to move upward.
Use raise (raised) when an object is being moved upward.
Joe raised his foot.
Joe rose early in the morning.

12. On to/Onto
Use onto when you mean "to a position on"
He tossed the spider onto the table. He held on to her foot.

13. Insectlike
Should you use "insectlike" or "insect-like?" Do not precede "like" with a hyphen unless the letter "l" would be tripled: bill-like, lifelike, businesslike, shell-like.

Do precede like with a hyphen if the word is three syllables, e.g. intestine-like.
Do precede like with a hyphen if the word is a proper name, e.g. Clinton-like. Exception, use Christlike.
Do precede like with a hyphen if the word is a compound word.

On the other hand, when "like" is a prefix... Follow with a hyphen when used as a prefix meaning similar to, e.g. like-minded. No hyphen are used in words that have meanings of their own, e.g. likelihood, likewise, likeness.

14. Subjunctive
The subjunctive form of the verb is used to express something contrary to fact. Use "were" in all of the following:
15.If I were king...
16.I wish you were here...
17.It was as if I were...
Usually, "as if" and "as though" suggest a subjunctive mood. The following sentence (which starts with if) is not contrary to fact so it is not subjunctive: "Jack didn't know what color the dog was. If the dog was black, Joe could find it in the snow."


18. Ellipses
Ellipses can be used to indicate a pause in dialogue or a trailing off of dialogue. If a complete sentence is fading, use four dots, with no space between the final word and the four dots. (One of the dots serves as a period.) If a sentence fragment is trailing off, use three dots, leaving a space between the end of the final word and the first dot. 

Creating your own reality?
Some speak of shaping the thoughts in order to master beingness, but to me, this is simply a case of the tail wagging the dog. The same goes for 'creating your own reality'. Sure, we do create our own reality, but what do we mean exactly by 'our'? In most cases the identity doing the manifestation is just a more subtle form of ego - a spiritual identity - that wants to control the situation in some particular way because it cannot accept what is already unfolding.

We are already shaping and creating everything we experience. Either the true self - the soul - is shining through and creating harmonious experiences or else the false self is influencing the show, by resistance to what's currently happening, denial or just plain insensitivity. We might feel a creative impulse for something to happen, only for the flow to get derailed by internal eddy currents of life's conditioning.


In which case you can't simply 'paper over the cracks', by manipulating the outer pieces on the game board without first uncovering and unwinding what's really happening inside. To do so, is simply to perpetuate the disharmony through our lives. Even though the circumstances may change - our jobs, relationships or location - the patterns remain the same. Instead, we need to look deeply into the outer mirror we're already creating. This includes our most intense and intimate feelings towards it, no matter how challenging or painful. Then there's a requirement to notice the blind spots, the grey areas in these points of attachment where presence closes down and gets drawn into the fray through identification.

Write a better novel
1. Write the story you’d most want to read. Don’t write a story just because you think it might be a bestseller or that it would make Great Aunt Edna proud. Think about the books you love, the ones you really lose yourself in. If those are mysteries, then don’t try to write an historical romance or a quiet literary novel. It might not be anything genre-specific that you love, but a certain voice, or type of story, or kinds of characters. Write what you love. Do me a favor — right now, today, start a list of all your crazy obsessions, the things that get your heart pumping, that wake you up in the middle of the night. Put it above your desk and use it to guide you, to jumpstart your writing each and every day.

2. Begin with character. Make her flawed and believable. Let her live and breathe and give her the freedom to surprise you and take the story in unexpected directions. If she’s not surprising you, you can bet she’ll seem flat to your readers. One exercise I always do when I’m getting to know a character is ask her to tell me her secrets. Sit down with a pen and paper and start with, “I never told anybody…” and go from there, writing in the voice of your character.

3. Give that character a compelling problem. Your character has to have something that’s going to challenge her, torment her and propel her forward. At the heart of every story is conflict – whether external or internal, make it a good one, and remember that this problem is going to shape your character, leaving her forever changed.

4. Make things happen! You can have the greatest characters in the world, and write beautifully, but if nothing’s happening, the story falls on its face pretty quickly. In my books, I make sure something important to the plot is happening in each scene. And if there’s a scene in there that isn’t helping to move the story along in some vital way, I cut it, no matter how great it is. When I’m editing, I’ll go scene by scene and write a single word sentence describing the action on an index card. Then I lay the cards out and I’ve got the bare bones of my story. I can see if things are moving forward, if I’m throwing in enough twists and turns, and if there are scenes that just aren’t pulling their weight.

5. Make it believable. Ah, you say, but you sometimes write stories with ghosts and fairies – how believable is that? It works if you make it believable in the universe of the book. In Promise Not to Tell, I came up with rules for the ghost – things she could and couldn’t do. I gave her a history and compelling reason to return. Readers hate cheap tricks. Don’t pull the evil twin routine in the final hour. Don’t bring in a new character at the end to solve the protagonist’s problem for her. She’s got to resolve things herself, for better or worse.

6. Stick with it the project. You’ll be tempted to give up a thousand and one times. Don’t. Finish the story. Then work twice as hard to revise it. Do your best to get it out in the world. When it’s rejected by agents and publishers (which it will be) keep sending it out. In the meantime, write another. Then another. Trust me, you get better every time. You’re not in this writing business because it’s easy. It took me four books, two agents and seven years to get my first novel published. It was a long tough road, but so, so worth it in the end!

7. And lastly: Ignore the rules. (Including mine.) Everyone’s got advice and theories; people want to pigeonhole you, put you in a genre with its own rules and conventions. I think the work comes out better when we leave all that behind; when the only thing to be true to is the writing.

By: Chuck Sambuchino



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We invite submissions of love poems, stories and flash fictions for Soflay Literary Magazine February edition 2017. We seek work that is thoughtful, deliberate, and authentic. To read the guidelines and submit.
We also accept submissions for our website to be considered as featured online content; these submissions are accepted on a rolling basis and published year-round.

Please send your submission of 2 love poems, short story (no more than 5,000 words), flash fiction (up to 1,000 words), and novel part 1 (up to 1000, Note: next parts will publish in next editions) with short biography in a single word doc to soflay@post.com For more information about our,

visit: www.soflay.ml

The deadline for submissions is January 30th, 2017.


Soflay Inc. and Soflay Literary Foundation has the honor to share the final decision of the contest: Poet of the Year. We greatly appreciate the contribution of all our participating poets in this event. We sincerely thank our International Jury for this hard work in a quality competition, very close. Unanimously our Soflay Poet of the Year 2016 is: Jeton Kelmendi (Albania) To whom we extend our most cordial congratulations and wish him an excellent year as ambassador of the international letters in our Literary Foundation.

MEMBERS OF THE JURY:
Anna Fletcher (United Kingdom),  Fernando José Martínez (Mexico),
George Onsy (Egypt)  Luz María López (Puerto Rico),  Monsif Beroual (Morocco).

Soflay: What other authors are you friends with, and how do they help you become a better writer?  Tell their names.

Alicia:  Fortunately I have the great blessing to have  true friends, some of them are writers, others are not.  It's hard to talk about names because each one  of them is an example to follow, undoubtedly they have contributed to me with so many things:  friendship, joy, confidence, strength, constancy ... Good friends  vibrate in our own tune, and they  stay with us to travel this difficult long road of poetry and letters.

Soflay:  Do you have a favorite love poem? If so, what is it and who wrote it?

Alicia:  I don´t  have a single poem of love in particular, but I can tell you that I love the poetry of Hafiz, Rumi, William Blake, Novalis and Pablo Neruda. Poets who have transcended and who are a wonderful source of inspiration for generations to come.

Soflay:  Do you read fiction, and if so, what are you reading now? tell us about your favorite novels

Alicia:  Yes I love so much all the Egyptian historical novels of  Christian Jacq,  He is an Egyptologist and writer of fiction, PhD in Egyptology at La Sorbonne and initiated in Free masonry;  He is a great expert in the time of Pharaoh Ramesses II, I have read all his French books, I  love them!  Also  I love so much all the novels of Dan Brown.
 area only. I hope to write essays in the near future.

Soflay:  If your poetry were a Cycle, what make, model, color and year would it be?

Alicia: My poetry would have all the colors of the spectrum of the rainbow It will have, not just a particular color. With lively feelings to blossom in  a beautiful vision on a rainy sunny day. Each color would reflect a feeling, they are renewed every day, like the water of a river, always flows,  and  never static.

Soflay:  What things would you give up to become a better author?

Alicia: I would leave my comfort zone to live the real problems we have in several parts of the world.  I would engage in activism to defend the rights of children and women and I will bring a message of love to every people on earth, regardless of language, overcome language barriers to promote Peace through my letters.

Soflay:  What was one of the most surprising things you learned in creating your books?

Alicia:  All started when my best friend from Iran asked me: Why don´t you write a book? It was a detonating question. And I took an ontological coaching course and the coach asked me? What stops you to write your book?
Then I understood that all our limitations are mental, as Hermes Trimegist said "Everything is mind." I made a long list of all the things I thought I could not realize, with limiters of all kinds,  I changed  my mind,  I learned to think always in positive!  And I changed all my limitations by 4 words: "I can do it!"  And here I am struggling to get my dreams.

Soflay: What is your future plan about writing?


Alicia:   I feel that I am a very hyperactive person, I really enjoy doing different things at the same time,  I like the challenges!  I am currently working on the writing of my second book of poems and I am writing a fiction novel. I do not want to stay in one.

Alicia Minjarez Ramírez
Multi-award-winning poetess. She was born in Tijuana Baja California, Mexico.  Winner of a special mention at the International Poetry Prize NOSSIDE Italy 2015. Her poems have been translated into: English, French, Taiwanese, Albanian, Cameroonian, Arabic, Chinese, Portuguese, Italian and Polish. And published in more than 40 International Anthologies, journals and magazines around the world. 
Alicia Minjarez Ramírez 
CEO
Poetess, Translator, Editor, Singer, 
Broadcast locution Radio and T.V.

She was born in Tijuana Baja California, Mexico. She studied a Master Degree in Computer Science, specialization in Artificial Intelligence. Master Degree in Computer Science at the University of Montpellier II, France.

Winner of a special mention at the International Poetry Prize NOSSIDE, Italy 2015, recognized by UNESCO. She won the Universal International Poet Award Pentasi B. World Friendship Poetry, Africa, Ghana 2016. Her poetry was Awarded in Spain in 2015.

She is the chief editor of the yearly world poetry anthology "Whispers of Soflay". Her poems were included on the XXI Century World Literature Book, Presented at New Delhi, India with Internationally renowned poets and writers.

Chief Executive Officer at Soflay Inc. a publishing house that provides services to the writers and poets and Mexican Director at Writers Capital International Foundation, an International foundation to inspire writers across the world to contribute to the values of humanity.

Coordinator and simultaneous translator French- Spanish- English at CUPHI III on the III Congress of Universal Hispano-American Poetry in Los Angeles, California, 2014. Participation in the 34th World Congress of Poets at Peru 2014. She participated in more than 30 International Poetic Anthologies at Chile, Macedonia, Italy, Spain, Mexico, USA, India, Tunisia and Canada. Her poems have been published on International Journals and Reviews, such: Ila and Taourirt at Morocco, “The Poet” at Tunisia, Galaktika Poetike “ATUNIS” in Albania, and the famous magazine OKAZ in Saudi Arabia.

Her poems have been translated into English, Cameroonian, Arabic, Portuguese and French. Have had read on International Poetry Recitals in several Countries around the world, and transmitted in National and International Radio programs.

In the field of translation, she has collaborated with International Poets and Writers providing versions of their literary works. Her translations were published in magazines and newspapers in: London, Italy, Albania, Taiwan, United States, Morocco, Chile, Spain, Canada, India, Uzbekistan and Hazaristan.

Member of the select International Group PENTASI B. WORLD FRIENDSHIP POETRY created by the father of the visual poetry: Doctor Penpen B. Takipsilim.

Dr. Rehmat Changaizi 
COO
Poet, writer, editor and philosopher

He is the Chief Operations Officer at Soflay Inc., author of poetry books Mia Bella Dea and Bella Diosa and chief editor of the yearly world poetry anthology "Whispers of Soflay".

Rehmat Changaizi is a multilingual talented romantic poet . He is a polite, humble and broad minded personality. His locomotive poetic mind walked through every sphere of love , pain disdain and divine gain. His poetry creates lovely metaphor between the beauty of nature and his muse. Nature plays a vital role in most of his poems . His love poems make readers poetic whenever they read his poems . He has an amazing rhythm style of his own. His imagery creates magic by his dexterous hand.

Rehmat Changaizi 's profound poems remind us some famous poems of Victorian age. He maintains a nice balance between modern and traditional thoughts and enamor his readers by his poetry. He has a supreme power of imagination and creativity that able to make him a poet known by the world. Wish him more success for his soul catching love poems and for the the life ahead. .We know sky will be his limit. 

He discovered his love for writings at the tender age, graduated in Homeopathic medicine and graduated in Law from  M.I.U.  Azad Jammu & Kashmir.  He completed  master degree in Urdu literature from University of  Sargodha, Pakistan. The main theme of his writings is love and mysticism. His poems have been translated into French, Spanish, Chines, Polish and Arabic, and have also been published in several  journals, magazines and anthologies at national and international level.

Anna Fletcher
Chief Editor Soflay Literary Magazine
Poetess, Playwright  and Editor


English poet, playwright and full time carer, Anna Fletcher (1979), lives in Plymouth, UK and has a professional and academic background in Special Educational Needs. She completed her degree in Education with First Class Honors in 2012, whilst working as a special educational needs specialist in a local mainstream school and raising her son who has autism, ADHD and learning difficulties. Shortly after achieving her degree, Anna was forced to leave her career to become her son’s full time carer, due to lack of support, opportunity and full time education provision for her son. Since then, she has become a successful poet and an accomplished playwright, using creative writing as an opportunity to raise awareness and understanding of autism, as well as other mental health issues.
Anna is an advocate for improving well being and promoting positive understanding of mental health for disadvantaged individuals, with much of her poetry and plays reflecting this, but her work is not limited to this. Anna's poetry is also influenced by feelings and situations which are hard to deal with, she will explore and seek silver lining, lending a healing capacity and inspire personal growth to readers of her work.
Using her experience as a parent and as a professional, Anna is actively contributing to raising awareness of autism in the community. Anna's mini script, Three Voices of the School Run, featured in London’s Royal Court Theater's exhibition ‘Everyday Acts of Resistance’, marking the launch of her Autism Awareness Creative Campaign. Anna then developed this mini script in to a one act play, Three Voices Under the Spectrum, which was presented by The Play-writers, Plymouth, UK, in November 2016, along with some poems and a short story from her Creative Campaign in the hugely successful An Evening With.

Anna Fletcher published work
Dear Father Christmas, in ‘Christmas Poems’ and ‘Poets of the Year 2016’
The Coming of Spring, in ‘Springtime’ and ‘Poets of the Year 2016’
Porthmeor Beach, in ‘The Wider View 2016’ and Issue 4 Poetry Now Magazine (UK)
Megan’s Prayer, in ‘Aspects of Faith 2016’
Unfair Weather, in ‘The Epic Book of Poetry 2016’
The Mountain of You, in ‘National Poetry Anthology 2017’(currently in print)
Courtyard Compass, in ‘Moments of Inspiration 2016’ (currently in print)
Beneath A Spooktacular Moon, in ‘Halloween and Bonfire Night Collaboration’(currently in print)
Rainbows for Halos, in Issue 1 Poetry Now Magazine (UK)
What's with Autism and the Full Moon? In Issue 2 of Poetry Now Magazine (UK)
Beneath the Unfair Weather, booklet of poems for An Evening With… Anna Fletcher
Ten of the Best, (currently in print) a selection of Anna's poems with 9 other UK poets
Under The Spectrum, booklet of poems, plays and flash fiction for Anna’s Autism Awareness Creative Campaign
List of plays
Single or Return, co written with Plymouth Playwriters, performed by Playwriters Production Company in March 2015
Tasminia Flippin’ Hell, performed by Playwriters Production Company in July 2015
Three Voices of the School Run, in London’s Royal Court Theater exhibition of Everyday Acts of Resistance
Three Voices Under The Spectrum, performed by Playwriters Production Company in November 2016
No One’s Home Alone At Christmas, pantomime, written with Vikki Opie, performed by Hamoaze House, Plymouth
Another Dark Knight, co written with The Playwriters,  to be performed by the Playwriters Production Company in May 2017.

Dr. Tze-Min Tsai
Director of Asia 
Poet, Writer, Novelist and Translator
He was born in 1957 in Taiwan, holds a PhD. in Chemical Engineering and a Master of Science in Applied Mathematics. He has equal affection in science, mathematics and literature. The results are all reflected in academic and creative published simultaneously
He is an Associate Professor at Asian University of Taiwan, a columnist of several poetry journals, Director of Writers’ Capital International Foundation , Director of Asia at Soflay Inc., Member of Board of International Writers Association of Belgium, and English writer of BABELMATRIX International Multilingual Literature Portal.

His literary works include novels, prose, and poems. He specialize in describing nature, humanity’s love and affection through literary works. So often be referred to as “a green poet”. A large number of his works has been published in domestic and foreign literature publications and translated into English, French, Spanish, Albanian, Slovak, Hungarian, Italian, Turkish and other languages, in the relevant countries.
His Important published works include (Long Novel), , < Poems and writings in the life stories>, < The Expressions of Rubik’s Cube in Algebraic Groups>, ,, and ..

Winning records:
2014, “ The 2nd National Gene Wide-angle Mirror Contest ” Gold Award (Taiwan, R. O. C.)
2015, “The 3rd National Gene Wide-angle Mirror Contest” Bronze Award (Taiwan, R. O. C.)
2015, Changhua Provincial Bureau of Culture, “23-year Huangsi Literature, Changhua County Writers Award (Long novel) ” (Taiwan, R. O. C.)
2015, “The 38th China Times Newspaper Award” Essay Award (Taiwan, R. O. C.)
2015, National Hakka Committee “Tong Flower Award” Excellent Work of Prose (Taiwan, R. O. C.)
2016, Yunnan Provincial Bureau of Culture “12th Culture and Art Award” Excellent Work of Short Novel (Taiwan, R. O. C.)
2016, International Writers Association “2016 BOGDANI International Award for Outstanding Poets” (Belgium and Kosovo)

Luz María López
Director of Puerto Rico
 is writer of poetry, narrative, essays, translator, editor and cultural promoter.

Is Executive Director of World Festival of Poetry (WFP-IOC) and World Poetic Front Defending Women’s Rights (WM); Member of the Organizing Committee of the International Book Fair in Mayagüez, Puerto Rico (FILEMH); Poets on the March (Puerto Rico); President for Spain and Puerto Rico of Writers Capital Foundation; Honorary Consul for the International Parliament of Writers from Cartagena de Indias (Colombia); WM-FeminIstanbul; Ambassador at Large and Director General of World Institute for Peace (WIP) to Puerto Rico and USA. Luz María has been recipient of two honors: “Universal Inspirational Poet”, by Pentasi B, Accra, Ghana, 2016 and Shaan-E-Adab “Glory of Literature” by Kafla Intercontinental, Udaipur, India 2016.

She has organized many poetic actions in Puerto Rico and hosted Poetic Sanctuaries abroad. An assiduous participant of International Poetry Festivals and International Writers’ Congresses, has traveled to many countries. Is the author of two poetry books: “Beneath Your Skin”, written in English, and “La Hora del Vuelo” (The Flight Hour), in Spanish. Is Editor in Chief, compiler – translator of the anthology “Poetic Voices of New Century” (Spanish edition, 2016), published by Kafla Intercontinental Press, India. Her poetries have been issued in several renowned international publications and anthologies. Many of her poems are translated to Arabic, Italian, French, Chinese and Turkish. Other books in the style of narrative and social poetry will be released soon. As advocate for women’s issues, has contributed with various academic articles in the line of psycho-social aspects of the genre, published in many countries and languages. The essay “Heritage of Latin American Women Writers” is her topic presentation at the XXI International Writers Congress in Udaipur, India (2016) and has been published as well.
Holds degrees in biology and psychology and is a certified Conflict Resolution Mediator.
She studied at the University of Puerto Rico and Eugenio María de Hostos Law School. Luz María believes that poetry can heal the world and poets do have a social responsibility towards humankind.
Mohamad Chadi
Director of Egypt
 Poet, plays writer, journalist and photographer

Born in 17 October 1968 in Cairo, Egypt. He is the Director of documentary And researcher in folklore. He graduated from the Faculty of communication at the University of Cairo in 1995, Department of public relations and advertising. He is a member of the Independent Film Association (Indie Club) at the United States. Among his works are Loghaesmaha wattan (a language called (the fatherland), published in 2002, Bahsan ani (seeking me), published in 2008, and Hadith fil-echq (words of love). He participated in 17 private photography exhibitions in Egypt, the United States and Mexico. He is winner of the tourism mondialedu Day in 2007.

He wrote the Words of Love - Autobiography of a Heart Words of love. In the footsteps of the verses of Ibn Arabi, the young poet Mohamad Shadi rhymes his verses entitled Hadith fil-echq (words of love, autobiography of a heart). The Sufi voice is mingled with the primitive passion of an Adam and a Eve.

Timileyin Gabriel Olajuwon (TGO)
Director of Nigeria
Nigerian poet and a literary critic.

 He is an international multi-award winner – Awarded the World Poetry Ambassador to Nigeria {Canada} 2013, nominated as Inspirational Poet of the Year by World Friendship Celebration (Pentasi 😎 Philippines 2013, won the Write Share Be Read Second International Poetry Competition with his poem “REMEMBER O’YE GODS”; as one of the Top Five Poets in category A and was published in First Female online magazine, United Kingdom 2013, placed in the top ten in the Rabindranath Tagore Award – International English Poetry Competition (India) 2014. awarded the World Poetry
Cultural Youth Peace Ambassador Award 2014, awarded Creative Writers Association of Nigeria Poetry Literary Award 2014, ranked third in Anchors Bible competition 2014, nominated for El-Hibri Foundation Peace Education Prize 2015, nominated as director of World Poetry Movement (Mexico) 2015 and 2016 Pentasi B universal poet of the year (Ghana). Gabriel is the founder of World Poetry Peace Zone (A subsidiary of World Poetry Canada and International) where writers from corners of the world ink to propagate peace and constructively criticize works of their fellow writers respectively. He is also a member of international groups and organizations
like World Poetry Canada and International, Splendors of Dawn poetry Foundation, Pentasi B World Friendship Celebration, World Poetry Movement and many more. Most of Gabriel’s works have been featured in many international anthologies and journals: He is the brain behind Muse for World Peace Anthology (An anthology of poets propagating peace) and finally, he is a published author with his first book entitled “Call for Retreat” 2013.

SUMANA BHATTACHARJEE
Director of India
Poetess, writer and translator

She is an English Poetry writer from India. She was born on 21.1.1977 in Kolkata (previous Calcutta), India. Her father and mother were teachers and she brought up in an ethical and cultural background. Her father was a Bengali Poetry writer but he never got proper appreciation that he deserved.  At the age of 8 Sumana lost her mother and her mother left two daughters all alone in this world. With many ups and downs she grew together with her elder Sister.
In the year 1998 Sumana Bhattacharjee graduated under "Calcutta University with Honors in Bengali Literature.  Then she completed "Secretarial Practice” Course under "George Telegraph Training Institute ‘. Kolkata. But from very childhood she had a keen interest in English Literature.  So again she started to study for Master in English.
But after her father's retirement to maintain the financial status of the family she engaged herself in a job of Private Ltd. Co. Due to the hard work of a private concern she forced to leave her study. But after her marriage she resigned from the job and started to write short stories and poetry in her leisure. But she in laws family was orthodox so she never shared her pen in public media. But she always loved to fight for where she is right and she beloved God is there to help her out. In 2015 just to communicate her singer cousin sister , Jayashree Majumdar who stays in America she opened a Facebook account . Just to share her pen she secretly started to share her pen without her identity.  But soon people starts her pen and one of her poetess friend advises her that without your identity your talent is futile . So soon she started to write with her own identity.  Within 6 months she became an administrator of 3 poetry groups and she created a poetry group of her own "World of Poetry and Prose ".
Many of her poems have been published in several anthologies and her name has been included in "Galaxy of Poets " by Agron Shele.
She named some of her poet friends who always worked as an inspiration of her life like Alicia Minjarez Ramírez, Nandita Samanta,  Dr. Prerna Singla and Ron Dubour.
She is passionate about poetry and music. Although her mother tongue is Bengali she loves to write poems in English mostly . She is also comfortable in Hindi. She wants to give all credits of her success to her father Gouranga Bhattacharjee. She thinks she is nothing but to him .
She loves poetry as she loves God and thinks there is no key of success without hard work and honesty. She wants to create a poet organization accompanied by her poet friends in Kolkata and wish to continue her literally effort till her last sleep!

FERNANDO JOSÈ MARTÌNEZ ALDERETE
Director of Mexico
Writer, poet, theater actor

 Fernando Jose born in Leon Guanajuato Mexico on April 21, 1977, Fernando studied the degree in communication within the Latin American University Leon. He has written poetry from 14 years of age and published several of his writings in the most important newspapers in his hometown, cultural magazines California, Leon, Guanajuato capital and Zacatecas, USA. He is currently involved as administrator of various literary groups, publishing his poems in social networks, participating in various anthologies published in Black Island, Chile and stories in Madrid Spain with poets of America and Europe, He has also recited their texts in radio programs in Montevideo, Chicago, Barcelona and Buenos Aires.

Alicja Maria Kuberska 
Director of Poland
Poetess, novelist, journalist, editor

She was born in 1960, in Świebodzin, Poland. Now she lives in Inowrocław, Poland.
In 2011 she published her first volume of poems, entitled: ‘The Glass Reality’. Her second volume ‘Analysis of Feelings’ was published in 2012. The third collection ‘Moments’ was published in English in 2014, both in Poland and in the USA. In 2014 she also published a novel – ‘Virtual Roses’ – and another collection of poems ‘On the Border of Dream’. Next year her volumes entitled “ Girl in the Mirror “ was published in the UK, “ Love me “ and “(Not) my poem” in the USA .In 2015 she also edited anthology entitled “ The Other Side of the Screen”. In 2016 she published two volumes – Taste of Love in English and Thief of dreams in Polish.
Her poems have been published in numerous anthologies and magazines in Poland, the USA, the UK, Canada, India, Italy, Israel and Australia. She is awarded Polish poet. Her poems are noticed abroad too. She was the featured poet of New Mirage Journal (USA) in the summer of 2011. Her poem ‘Train’ was nominated for the Pushcart Prize in 2011. In 2014, her poem was mentioned in the international competition, Nosside. In the 2015 her poem “ Thief of dreams” won the medal in Nosside competition .This year also poem “ The dance on the dew” was nominated for the Pushcart Prize. She was the featured poet of magazine “ The year of the poem “ March 2015.
Alicja has written 8 mono-dramas and a play for teenagers. The mono-drama ‘Cousin’ won the first prize in Kołobrzeg in 2013.
Alicja is a member of the Polish Writers Association in Warsaw. She was one of two editors. 
SONGSOPTOK: Do you think literature is really essential in our life? If so why? In your opinion, what is the true relationship between life and literature? What is your own experience? And how does this relationship relate to the general history of mankind?

REHMAT: Yes, It is essential because literature unlocks the culture and life and It elevates the particular to the universal. It gives us a deeper understanding of issues and situations. With It we feel more complete and useful. When we speak about literature, we immerse in the world of fantasy, fiction, history and facts. It is a world with which we interact and that is all around us at all time.


SONGSOPTOK: We would like to know the beginning of the story, i.e. how your upbringing contributed to your own writing. Who were your favorite literary figures during the early period of your life? How they have paved your early routes in literature?

REHMAT:  I discovered my love for writing  since  the tender age of 15 years.
My favorites poets are Rumi, Hafiz, Baba Fareed, Khalil Gibran, Wordsworth, John Keats, Rabindranath and Mir Taqi Mir.


SONGSOPTOK:  Do you think that literature also bridges the human world with the Mother Nature? As well as with the present time of our surroundings?

REHMAT: There is definitely a great connection between mother nature and human world. It is our first source of inspiration, when we learn to distinguish colors, textures, flavors, climatic differences, a beautiful sunset and a summer rain.


SONGSOPTOK: What are the main events that you think are the major issues that have influenced present day literature?

REHMAT: When we see any literary movement, we realize that the social, political, economic, and even philosophical circumstances of any age greatly influenced literary creations.


SONGSOPTOK:  Do you think in this age of information and technology the dimensions of literature has largely been extended beyond our preconceived ideas about literature in general? Now in this changing scenario we would like to know from your own life experiences as a poet, writer and a creative soul; how do you respond to this present time

REHMAT:  Due to the boom in information technology, now literature is more accessible, everything is available on the internet with just a click. We need to be aware the structural changes imposed by the perception of the world. In turn, as a writer and poet I must fulfill the current electronic demands of my readers, publishing my own works on electronic devices available to all.


SONGSOPTOK: Now if we try to understand tradition and modernism in literature, do you think poetry can play a pivotal role relating the two? If so, how? What are your opinions about the role of the poet in bridging the gap, if any, between tradition and modernism?

REHMAT: Literature gives us a detailed preview of human experiences. Poetry is the invention and experimentation of new modes of expression and thought. Modernist poetry is the use of new and wide range of subjects, themes and issues and traditional poetry had to be limited to subjects of universal significance and general human appeal. Poets are testing new experiments with old traditions.


SONGSOPTOK: Do you think that society is the key factor in shaping you up as a writer. What about your own country? What is the influence of your country & your culture in your writing? Do you believe that all writers are by and large the product of their nationality?  Is it an incentive or an obstacle for becoming a truly international writer?

REHMAT: I do not feel that writers are the product of  their  nationality, because each of them has been influenced differently by some literary currents, or by some poets of different nationalities. The nationality of a writer is not an impediment to excel abroad.


SONGSOPTOK:  Do you believe creative souls flourish more in turmoil than in peace? Why? Are you a protagonist of "art for art's sake"? Can you please present us with your point of view?

REHMAT: Definitely because in difficult situations we can take from inside the true being that we have in our hearts. It is vital to recover the capacity for wonder like what we have, what we are and what we can do. My works are inspired by love, nature and mysticism. I do not see myself as a mere spectator, I know I can change things through poetry.


SONGSOPTOK:  Do you think people in general actually bother about literature in general?  Do you think this consumerist world is turning the average man away from serious literature? And do you think poetry or literature can solve any problems in our everyday life? Why should we adhere to it?

REHMAT: People are not bother about literature. It is true that the love of literature is being lost, perhaps because the consumerist environment in which we live. For this reason, we need to promote love of literature and poetry. An individual can appreciate all this, We must begin to instill a love for literature and poetry to children in schools since kindergarten and not only that but also the love of culture and arts.


SONGSOPTOK:  Are you a feminist? Can literature play any decisive role in feminism at all? What role can literature play to make our lives better on a day to day basis?

REHMAT:: We consider feminism as a doctrine and social movement calling for the observance of capabilities and rights that have traditionally been reserved for men.  I try to defend the fair causes and rights of women on the world through poetry and social media. Indeed! Because the twentieth century is characterized by the struggle of women to end with the social, political and symbolic inequality which have been subjected for centuries. Feminism as a social movement born heir to the suffragist movement, has likewise led to a profound reflection on gender enrollment of individuals in their speeches and in their actions, questionings the universality of culture and arts.


SONGSOPTOK: Now if we want to look ahead, do you think that there is an oncoming crisis for literature in general? Will it bring new dimensions in our life ahead? Or do you think that the future of literature is not as bright as it should be?

REHMAT:  We cannot remain silent in front of social injustices based  on social problems. Poets are launching the points to talk openly about relevant issues, raise awareness and seeking followers to support our thoughts.
..................................................................................................................................................................                                                                              
REHMAT CHANGAIZI Poet, writer and philosopher. He discovered his love for writing at the tender age. He graduated in Homeopathic medicine and graduated in Law from M.I.U Azad Jammu & Kashmir.  He completed  master degree in Urdu literature from University of  Sargodha, Pakistan. The main theme of his writings is love and mysticism. His poems have been translated into French, Spanish, Polish and Arabic, and have also been published in several journals, magazines and anthologies at national and international level.




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