Choose a Good Auto Repair Shop to Keep Your Car Working Properly

Have you ever been out driving on the road without a care in the world and suddenly your car starts to make a funny noise? While you turn down the radio so you can hear the sound clearly, do you start to think about all of the things that could be wrong with your vehicle? Maybe you start thinking about the last time you took your vehicle in for repairs. No matter what you start to think about during that time, one thing you can’t ignore is the fact that your car needs to go to an auto repair facility.

Instead of taking any chances on the problem getting worse, you need to contact your local auto repair shop and find out when is a good time for you to bring your vehicle in for service. The longer you drive around ignoring the issue, the larger your repair bill will be. If you don’t have a good auto repair facility that you can take your car in too, it is time for you to start looking for one.

Any auto shop that you decide to take your vehicle to needs to be run and managed by state certified mechanics. You do have the option of choosing to have your vehicle serviced at the dealership or at an independent shop. You may want to check around and get some recommendations on where you should go so you don’t end up wasting a ton of time. Some places are pretty fast when it comes to repairing your vehicle and others may be a bit slower. Some places require that you leave your car with them and others will fix it while you wait.

Keep in mind that all auto repair shops aren’t the same. While many of their workers may hold the same credentials, the rate charge for service can differ greatly. Don’t be so quick to go with a facility that charges rock bottom prices, because you may not be happy with the end result. You need to make sure that any parts they are using on your vehicle are new unless you have specified otherwise.

Pay attention to how you are treated when you visit different auto repair facilities. No matter what type of vehicle you have or what type of work needs to be done on your car, you should be treated as if you are the best customer in the world. That means that any questions or concerns you have should be addressed promptly. You should be treated as if your time and patronage are very valuable. If there are going to be any delays or unexpected issues concerning your vehicle’s repairs you should be notified as soon as possible. A good shop is one that communicates with its customers every step of the way and charges them fair and competitive prices. The work they perform should be exceptional quality and they may even offer warranties with their work. The bottom line is you should end up a happy and satisfied customer after having your car worked on.

A Craft Industry Analysis

The Craft and Hobby Association in 2011, released results of research into the U.S. Craft and Hobby Industry. You may be surprised to learn that the craft and hobbyist’s contribution towards this industries net worth is approximately $29 billion, double the $14 billion first reported by Craft Organization Directors Association (CODA) in 2001. A surprising figure to emerge from this research (even to us avid craft enthusiasts) is that over half of U.S. households acknowledged engaging in a craft activity at least once per year.

When we unpack that $29 billion net worth figure we get a clearer picture of who it is that loves their hobby. Woodworking was the front runners in the top 10 craft sectors by spend, coming in at $3.32 billion with 16.8 million individuals engaging in this activity. I myself have some lovely bookends purchased at a local Sunday market that have clearly been lovingly produced by one such woodworker.

Since the internet revolution every industry engages in analytics and who wouldn’t want to have a picture of their client base so savvy marketing campaigns can bring a little more of that dollar value into the business. And what an impressive dollar value it is. The artists among us, thought to be 21.1 million households, spent $2.6 billion on our passion. The jewelry making and beading craft accounted for $2.3 billion with 14.7 million people crafting earrings, necklaces, bracelets and broaches etc. Over 18 million households engaged in Scrapbooking and other paper crafts spending $3.3 billion preserving family memories and turning photos into family heirlooms. The crocheting hobby injected $1.062 billion into the industry via 17.4 million strong crochet fans. That’s a lot of towels getting topped.

Crafting wreaths, historically a symbol of strength, and in Christianity a celebration of the festive season, made it into one of the top 10 favorite craft activities with 11.6 million engaging in this activity. This is not a once a year only at Christmas craft as wreaths are also used as wedding headdress in many different cultures. Incidentally, wedding crafts injected $803 million into the U.S. craft economy.

With speculation that the global financial crisis is responsible for providing this boost for the craft industry Hobby Lobby’s Eileen Liffick attributed an increase of people attending craft shops or online craft sites looking for ways to create craft for their families without spending a lot of money due to the current economic conditions. Ms Liffick says that “not only are people saving money, they’re making it. We have many people selling these items making extra money”.

What was previously a much loved hobby is now a means of saving the family money. “People are looking to create something special, something homemade. They want to help others save money, while making a little extra for themself”. The fabric department’s business has at least doubled in the last three years because of the economy with people trending back to earlier times, making homemade items for themselves, as a gift, or for a fun family activity. Industry concentration has increased over the five years to 2011, as large national retailers take market share from small independent operators.

Despite the impact of large scale business successful craft businesses are popping up everywhere seeking to share in the crafting industries net worth of $29 million. Crafting is a convenient work from home business and respected cottage industry. Approximately 81.2% of total craft industry operators in Canada are estimated to be businesses without paid-employees (non-employers) in 2011.

It’s now easier than ever to publicize your business and get recognition without spending a fortune doing so using a variety of free and low cost tools and resources from marketing on the internet to craft shows and everything in between.

Craft shows bring resources and new techniques to the end user providing an unequalled opportunity to present craft and hobby ideas and products and services to this cashed up audience. The hobby and craft association reported attendee registration at one particular craft show up 40%. In the “buyer” category alone registration was up 48% for this same show planned for 2012 in Anaheim.

Craft Pavilions showcase what’s new in crafts reaching craft and hobby enthusiasts far and wide. Stall holders sell products in a popular, vibrant market place that attracts tens of thousands over the course of the event. The bonus to the community is far reaching as these tens of thousands of attendees require accommodation and spend money on food and drinks in the vicinity of the event.

Peartree Solutions produced a report on the profile of the Canadian craft industry (2003) highlighting that Canadian craft, recognized internationally for its quality and distinctive character, was at the time considered to be a growing and vibrant collection of individual craft persons, studios, enterprises, media guilds, public and private galleries, retail and wholesale shows, and organizations. The industry in 2001 had generated $727 million in economic activity which including over $100 million in exports.

At the time of this research there were approximately 14,048 craft studios operating in Canada, where 22,597 people were employed. Ten per cent of those surveyed had craft revenues in excess of $120,000. The net craft income (or earnings) of full time craft professionals averaged $17,300 in 2001, while the top ten per cent earned net income of $49,000 or more.

Southern hemisphere crafters are every bit as enthusiastic about their hobby. Australia has less than one fifth of the population of U.S. however managed to spend an estimated $250 million on art and craft materials in 2009-2010. These figures are not a true representation of the Australian craft industry however as the Australian Bureau of Statistics (ABS) define a hobby as an activity that was undertaken only for oneself or for family or friends, that is, the output was not for general consumption. If the item produced was to sell, then this would be considered a work involvement and not measured in the hobby category. The ABS survey showed that in 2007 there were 2.1 million people aged 15 years and over in Australia who were involved in Art and craft as a hobby activity.

Craft exhibitions, craft festivals, craft shows are an unequalled opportunity for crafters and retailers alike to show case their wares. “Handarbeit & Hobby” Exhibition (Cologne, Germany) was held in 2009. Thought to be the largest European exhibition of manufacturers of the goods for needlework and creativity, the exhibition attracted more than 200 craft product companies. Many companies from Mexico, Japan, Australia, the USA and other countries saw the financial benefits of crossing the globe to present their products and shore up a slice of the lucrative European craft market.

Prize money from craft competitions can be quite lucrative for the hobbyist. A winner of an award for embroidery in 2009 beat the pool of 24 finalists from 24 countries selected from 330 applicants to take home $10 000. Craft enthusiasts can compete with the best by entering craft competitions. A European quilting championship has been held annually, since competition commenced in 2002. Masters and designers of ceramics and porcelain from Canada, Russia, Spain and other countries were among the last biennale visitors to the British Ceramic biennale festival in 2009. A mosaic technique summit was organized by the Society of the American Mosaic Artists and coincided with 10th anniversary of this Society.

In a news release issued on April 14 2011, CHA Member Northridge Publishing (PROVO, Utah) announced the launch of a new craft industry trade publication “Creative Retailer,” The publication aims to provide retailers the very best in industry information and product awareness and canvas a wide variety of topics, provide project ideas and discuss solutions for common retail problems for craft retailers. The craft industry hopes that the introduction of a new trade publication is a signal that the industry has a positive future for retailers and craft enthusiast alike.

As former partners of Scrapbook Premier, Inc. and Scrapbook Business Magazine, Torrie and Kevin of Northridge Publishing will provide leading-edge programs and media support that will strengthen business practices for both vendor, manufacturers and retailers. Brian Kunz, founder and president of Northridge Publishing stated ‘”they are striving to expand the industry by building greater awareness to their many subscribers” (hundreds of new readers every month).

Craft industry statistics clearly show that with over half of U.S. households engaging in a craft activity, many, many people experience that unequaled feeling of satisfaction that comes from creating something beautiful. Nothing is as self-soothing as those stolen hours immersed in the craft you adore.

Marketing to Senior Citizens – Health and Fitness, the Growing Trend Amongst Seniors

Today seniors can’t afford not to get moving! With all the hype around nutrition and exercise the aging population is well aware of the benefit of an active lifestyle.

Most seniors of the 55 plus group are keen to reap the rewards of healthy aging through a variety of activities. They are not newcomers to the gym so to speak. Most have kept active with some form of physical activity throughout their lives, whether it is hardcore workouts in the gym or a congenial round of golf on a summer’s afternoon. Women of this age group have also managed years of multi-tasking, most having juggled full time careers, while raising families and still found time to fit in some form of exercise. These women became well acquainted with aerobics, step classes, strength training and power walking. Also, stress relievers such as yoga and pilates were embraced to combat tension and fatigue. In many cases these activities were their salvation of an overly busy lifestyle.

It is only natural then, that these baby boomers are looking to continue their active lifestyle into retirement. Quite possibly, with the time constraints lifted at this stage in life, it leaves them to focus more sharply on their health and wellness.

A huge opportunity exists for gyms and programming facilities to cater to this senior market. The number of seniors is set to skyrocket in the next five to ten years and if gym operators are to jump ahead of this curve, they should set their marketing sights on appealing to and attracting this demographic.

How to go about this? What are seniors looking for when it comes to staying fit? Firstly it is important to see a visual image that they can relate to. Marketing success is all about seeing yourself in the picture, being that person who is strong, fit and beaming with energy. If a beautiful twenty something image is smiling back, then age becomes a handicap in the mind of the senior, derailing their good intentions, making them feel like they can’t compete. The perfect image that will empower the market they are trying to impress is an attractive fit senior pursuing the exercise of his or her choice. An ad such as this will pop with the 55 plus market, creating a role model with whom they can immediately identify and connect. Seniors like everyone else need to be able to put themselves into that ad campaign and honestly believe that it could be them looking out. This puts the wheels in motion for a positive mindset and a “can-do” attitude.

Seniors are only as old as they feel. Once again we come back to the mind-set, which is a very powerful tool. Boomers today are constantly fighting the aging stereotype that has depicted seniors in the past. Seniors in their sixties often look, act and feel ten to fifteen years younger than their actual age. Advertising should play up to this pretense which promotes this healthy reversal known as “turning back the clock”.

Another means of promoting fitness is to educate the senior who wants to get moving and who wants information as to how this will benefit them and enhance their life. They need to know the positives, what they can expect, and can look forward to as a result of embarking on the fitness journey that the marketer proposes. The campaign needs to encompass every aspect of their life, proving that properly presented, seniors will understand that an opportunity to change is being offered which will impact and alter their lifestyle. It’s within their reach, all that remains to be done, is to get out there, set realistic goals with realistic time frames and make it happen.

This brings us to another point. Marketers should focus on the enhancement of senior life overall, as a result of engaging in exercise and activities, rather than the promise that, if you join up you will achieve this enviable body or snag that hot date. The quality of life and the heightened enjoyment of everyday activities which seniors can have as a result of exercise need to be highlighted.

Marketing programs should also contain testimonials and feedback from actual seniors delighted with their progress and accomplishments, similar to that of “before and after stories of weight loss”. Seniors want to hear how it has enhanced and changed other people, who are just like themselves. They want to hear the successes, for example, how exercise lowered blood pressure, how strength training enabled other seniors to do more, how medication was reduced, how endurance was stretched. It all gives the feeling that anything is possible, if they can do it, then I can as well. It sends a message and an incentive to become a joiner.

Seniors often prefer to sample a program on a trial basis to see if it’s going to be the right fit for them. Offering special programs geared to this group is smart when limiting them to one or two classes. Fitness activities can be offered at many different types of senior living facilities. Places such as retirement communities and nursing homes already recognize the need and benefits of fitness and nutritional programs. Approaching these senior residences is an effective strategy of marketing to large groups of seniors. There are also many senior assisted living residences that do not have organized fitness classes or programs in place yet, but they will soon. Visit these places and offer a free class or program, if these programs are successful you will know that this appeals to seniors and if the need is strong enough to continue. This will help to target the senior market, zeroing in on what works and what doesn’t.

Marketers of fitness need to alter their sales approach to seniors. This age group is not impulsive and will appreciate a thorough, softer sell approach. Seniors need and want information and prefer patience. This in turn builds trust, instilling confidence in the senior contemplating buying a membership. It basically reaffirms that they are doing the right thing in taking this first step to join.

Seniors as consumers hold certain expectations that need to be met for fulfillment. As part of the packaging of the programming, seniors also need and crave socialization and to be part of the group. They need leadership, to have an instructor to safely guide them through the program, with an eye to protecting them from injury and awareness of ailments like arthritis and osteoporosis in the participants. They look for convenience, with minimal stairs and easy entry, or even better brought to their home. Lastly they want value and attention, to feel like they are progressing and that their state of well being is something that is noted.

As with any market, the sales approach needs to be geared to their age defined needs and preferences. In the year 2010 and in the coming years the greying of the boomers market will keep growing by leaps and bounds. There will be an even greater emphasis on slowing the effects of aging and possibly the reversal through movement and exercise. This, the marketers realize is what it’s all about at any age. Seniors, like everyone else, want to maintain a high quality of life and that definitely includes exercise to make it happen.

What Font Should You Use For Your Book?

One of the most common questions asked by would-be self-publishers who are intent on designing and typesetting their book themselves is, “What font should I use?”

I’m always relieved when somebody asks the question. At least, it means they’re not just blindly going to use the ubiquitous default fonts found in most word processing programs.

However, there is almost no way to answer the question. It’s like asking, “What’s the best car model for commuting to work everyday?”

You’ll get a different answer from almost everyone you ask. And they might all be correct.

I am willing to offer one hard-and-fast rule, however: don’t use Times New Roman or Times Roman. That will brand your book as the work of an amateur at first glance. And there are other, very practical, reasons for not using it. Times Roman and Times New Roman were designed for the narrow columns of newspapers, originally for the London Times back in the 1930s. Today, almost no newspapers still use it. How, or why, it became a word processing standard, I have no idea. The font tends to set very tight, making the text block on the page dense and dark.

Here are two caveats before proceeding to few recommendations:

  1. The typeface you choose may depend on how your book will be printed. If you look closely at most serif fonts (like Times), you will notice that there are thick and thin portions of each letter. If your book will be printed digitally, you should steer away from fonts with segments that are very thin. They tend to become too faint and affect readability.
  2. Don’t get carried away with the thousands of font choices available. Most are specialty fonts suitable for titles, headlines, advertising, emotional impact, etc. And never use more than a very few fonts in a single book — we usually choose one serif font for the main text body, a sans serif for chapter titles and headings within the chapters. Depending on the book, we may select a third font for captions on photos, graphics, tables, etc. (or maybe just a different size, weight, or style of one of the other two). We may select a specialty font for use on the front cover for the title and subtitle.

For 90% of books, any of the following fonts are excellent choices:

  • Palatino Linotype
  • Book Antiqua (tends to set tight, so you may have to loosen it up a bit)
  • Georgia
  • Goudy Old Style
  • Adobe Garamond Pro (tends to have a short x-height, so it might seem too small in typical sizes)
  • Bookman (the name sort of gives it away, doesn’t it?)
  • Century Schoolbook (tends to be a bit wide, creating extra pages)

You need to look at several paragraphs of each font to see what, if any, adjustments you may find necessary in things like character spacing and kerning. You want to avoid little confusions, like:

  • “vv” (double v) that looks like the letter “w”
  • “cl” (c l) that looks like the letter “d”

Such things can make the reading experience annoying.

If you ask other designers, you will likely get other suggestions, but I wouldn’t be surprised to see at least some of the above included in their recommendations.

You may run across some books with more unusual font choices, but there are often good reasons for it. Maybe the book is a humor book for which the designer chose a lighthearted font, for example. Such decisions should be made with care and thoughtful consideration for the effects on readability.

Never decide on your font or font size based only on viewing how it looks on your monitor. Most trade paperback books are printed in 10 or 11 point size, but some fonts require larger – or even smaller – sizes. If 12 points looks too big and 11 too small, you can try 11.5 – no need to stick with integer sizes. You might be surprised how much difference a half-point (or even a quarter-point) can make on the overall “feel” of the page.

You also have to decide on appropriate leading (pronounced like the metal), which is the distance from the baseline of one line of text to the baseline for the next line, measured in points. The result is usually expressed as a ratio of the font size in points to the selected leading in points. So, you might say you have set the body text in Georgia 11/14 or Bookman 10/12.5 (11-point size with 14 points leading and 10-point size with 12.5 points leading, respectively).

Word processing programs tend to work in decimal inches, forcing you to convert leading from points into inches. A standard point is equal to 0.0138 inches. Professional typesetting/layout programs (like Adobe InDesign) allow you to use points and picas to define all type measurements and settings. although you can also specify those settings in various other units (including inches).

Typically, book designers will develop more than one design for each book’s interior, using different fonts, sizes, and leadings. They should typeset a few pages of the actual manuscript and print them out with the same page settings they plan to use in the final book (e.g., 6″ x 9″ pages). This allows the client to compare them side-by-side and evaluate them for readability and overall look.

And don’t forget your target audience. Very young readers and very old readers do better with larger type. Books that are very textually dense with long paragraphs frequently need more leading and a wider font.

Ultimately, you have to choose based on what your gut reaction is to the typeset samples. It never hurts to ask other people to read it and tell you if one option is easier to read than another.

If you want to gain an appreciation for typography and how to make appropriate design decisions, I recommend the following excellent books:

The Complete Manual of Typography by James Felici

The Elements of Typographic Style by Robert Bringhurst

Book Design and Production by Pete Masterson

For those who insist on using Microsoft Word to typeset books, you really should buy and study Perfect Pages by Aaron Shepard. He is the reigning guru of how to do it.

It is far better to buy professional layout software and then learn all you can about typography and how to apply those principles to book design…or to hire a professional to do for you. The latter course will leave you more time to develop a dynamic marketing plan for your latest book and start writing your next one!