Shopping Thrift Stores and Pawn Shops For Collectable Jewelry Considered

Finding pristine pieces of collectable jewelry takes a lot of patience and a bit of knowledge. That means it takes some experience and observational talents that must be developed over time. Some folks like to peruse the online ads on eBay, Craigslist and such to find collectable jewelry, but you better make sure you know what you are buying and that the picture displayed is crisp and the actual digital shot of the item that is for sale.

It’s starting to sound a little dangerous buying stuff online or at online auctions isn’t it? Sure it is, so beware. Still, a talented shopper can find some super deals online, again, with patience, knowledge and knowing exactly which questions to ask, before they send the electronic payments to the seller. May I be so bold as to offer some advice on shopping for collectable jewelry another way, using the “what you see, is really what you get method?”

Why not go into a nicer area and check out the Pawn Shops? Right now with the economy in the tank, many folks have hocked their collectable jewelry to get quick cash to stay in their homes, pay their mortgages, or get money to stay out of bankruptcy. With job losses increasing at the bottom of the recession, there is quite the supply available.

If you have collectable jewelry and you take it to a Pawn Shop do not expect to get much for it, it’s too risky and many Pawn Shops will not give you much for it, as there is no definite market and its value is so hard to judge. There is a market for some specific top end brands like Rolex Watches, but for the most part collectable jewelry is not so easy to Pawn.

Perhaps this is why you can get such a good deal for it. And while you are at the Pawn Shop, why not check out the Thrift Stores too. The selection might not be so great during a down economy, since more folks are shopping for low prices for jewelry, but Thrift Stores often have great collectable jewelry, again if you are patient and know what to look for. Think on this.

Publishing And Digital And Electronic Rights

The following publishing industry article addresses some of the legal issues arising for publishing lawyers, entertainment attorneys, authors, and others as a result of the prevalence of e-mail, the Internet, and so-called “digital” and “electronic publishing”. As usual, publishing law generally and the law of the digital right and electronic right specifically, governing these commercial activities, has been slow to catch up to the activity itself. Yet most of the publishing industry “gray areas” can be resolved by imposing old common-sense interpretations upon new publishing lawyer and entertainment lawyer industry constructs, including the digital right and electronic right, and others. And if after reviewing this article you believe you have a non-jargonized handle on the distinction between “digital right” and “electronic right” in the publishing context, then I look forward to hearing from you and reading your article, too.

1. “Electronic Right[s]” And “Digital Right[s]” Are Not Self-Defining.

All publishing lawyers, entertainment attorneys, authors, and others must be very careful about the use of jargon – publishing industry jargon, or otherwise. Electronic and digital publishing is a recent phenomenon. Although as a publishing lawyer and entertainment attorney and unlike some others, I tend to use the phrase “electronic right” or even “digital right” in the singular number, there probably tends to be no single consensus as to what constitutes and collectively comprises the singular “electronic right” or “digital right”. There has not been sufficient time for the publishing, media, or entertainment industries to fully crystallize accurate and complete definitions of phrases like “electronic publishing”, “web publishing”, “electronic right[s]”, “e-rights”, “digital rights”, or “first electronic rights”.

These phrases are therefore usually just assumed or, worse yet, just plain fudged. Anyone who suggests that these phrases alone are already self-defining, would be wrong.

Accordingly, anyone, including a publishing lawyer or paralegal representing a book publisher or entertainment lawyer representing a studio or producer, who says that an author should do – or not do – something in the realm of the “electronic right” or “digital right” because it is “industry-standard”, should automatically be treated with suspicion and skepticism.

The fact of the matter is, this is a great era for authors as well as author-side publishing lawyers and entertainment attorneys, and they should seize the moment. The fact that “industry-standard” definitions of the electronic right and digital right have yet to fully crystallize, (if indeed they ever do), means that authors and author-side publishing lawyers and entertainment attorneys can take advantage of this moment in history.

Of course, authors can also be taken advantage of, too – particularly those not represented by a publishing lawyer or entertainment attorney. There is a long and unfortunate history of that happening, well prior to the advent of the electronic right and digital right. It has probably happened since the days of the Gutenberg Press.

Every author should be represented by a publishing lawyer, entertainment attorney, or other counsel before signing any publishing or other agreement, provided that their own economic resources will allow it. (But I am admittedly biased in that regard). Part of the publishing lawyer and entertainment attorney’s function in representing the author, is to tease apart the different strands that collectively comprise the electronic right or digital right. This must be done with updated reference to current technology. If your advisor on this point is instead a family member with a Smith-Corona cartridge typewriter or a Commodore PET, rather than an entertainment attorney or publishing lawyer, then it may be time to seek a new advisor.

Even authors who cannot afford publishing lawyer or entertainment attorney counsel, however, should avoid agreeing in writing to give broad contractual grants to publishers of “electronic publishing” – or the “electronic right”, or “electronic rights” or “digital rights”, or the “digital right”. Rather, in the words of “Tears For Fears”, the author and author counsel had “better break it down again”. Before agreeing to grant anyone the author’s “digital right: or “electronic right”, or any elements thereof, the author and his or her publishing lawyer and entertainment attorney need to make a list of all the possible and manifold electronic ways that the written work could be disseminated, exploited, or digitally or electronically otherwise used. Notice that the author’s list will likely vary, month to month, given the fast pace of technological advancements. For example, these kinds of questions can be considered by the author and publishing lawyer and entertainment attorney alike:

Electronic Digital Right Question #1, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Can the work be published in whole or in part on the Internet? In the context of an “e-zine”? Otherwise? If so, how? For what purpose? Free to the reader? For a charge to the reader?

Electronic Digital Right Question #2, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Can the work be disseminated through private e-mail lists or “listservs”? Free to the reader? For a charge to the reader?

Electronic Digital Right Question #3, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Can the work be distributed on CD-Rom? By whom? In what manner and context?

Electronic Digital Right Question #4, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: To what extent does the author, himself or herself, wish to self-publish this work, either before or after granting any electronic right or any individual “electronic publishing” rights therein to someone else? Will such self-publication occur on or through the author’s website? Otherwise?

Electronic Digital Right Question #5, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Even if the author does not self-publish, to what extent does the author wish to be able to use and disseminate this writing for his or her own portfolio, publicity, or self-marketing purposes, and perhaps disseminate that same writing (or excerpts thereof) electronically? Should that be deemed invasive of, or competitive with, the electronic right as otherwise contractually and collectively constituted?

The above list is illustrative but not exhaustive. Any author and any publishing lawyer and entertainment attorney will likely think of other elements of the electronic and digital right and other uses as well. The number of possible uses and complexities of the electronic right[s] and digital right[s] definitions will increase as technology advances. In addition, different authors will have different responses to the publishing lawyer and entertainment attorney, to each of the carefully-itemized questions. Moreover, the same author may be concerned with the electronic right in the context of one of his/her works, but may not care so much in the context of a second and different work not as susceptible to digital right exploitation. Therefore, the author must self-examine on these types of electronic and digital right questions before responding to the author’s publishing lawyer or entertainment attorney and then entering into each individual deal. Only by doing so can the author avoid the pitfalls and perils of relying upon lingo, and relying upon someone else to dictate to them what is the electronic right or digital right “industry standard”. As the publishing lawyer and entertainment attorney should opine, “There is no such thing as ‘industry standard’ in the context of a bilaterally-negotiated contract. The only standard that you the author should be worried about is the motivational ‘standard’ known as: ‘if you don’t ask, you don’t get'”.

Finally, the author should be aware that while the electronic right, digital right, and components thereof can be expressly granted, they can also be expressly reserved to the author, by a mere stroke of the pen or keystroke made by the publishing lawyer or entertainment attorney. For example, if an author wants to expressly reserve the “portfolio uses” mentioned in Electronic Digital Right Question #5 above, then the author should ask his or her publishing lawyer or entertainment attorney to clearly recite this reservation of the author portfolio electronic/digital right in the contract, and leave nothing to chance. In addition, if the author has some negotiating leverage, the author, through the publishing lawyer or entertainment attorney, may be able to negotiate the “safety net” of a “savings clause” which provides words to the effect that: “all rights not expressly granted to publisher, be it an electronic right or digital right or otherwise, are specifically reserved to author for his/her sole use and benefit”. That way, the “default provision” of the contract may automatically capture un-granted rights including any electronic or digital right for the author’s later use. This publishing lawyer and entertainment attorney drafting technique has likely saved empires in the past.

2. Publishers and Entertainment Companies Are Revising Their Boilerplate Agreements, As We Speak, In An Effort To Secure The Electronic Right[s].

It is well-known and should come as no surprise that right now, as we speak, publishers and their in-house and outside counsel publishing lawyers and entertainment attorneys are furiously re-drafting their boilerplate contracts to more thoroughly capture the digital and electronic right – that is, all of an author’s digital and electronic rights. The typical publishing agreement drafted by a company-side publishing lawyer or entertainment attorney will recite a broad grant of rights, then followed by a whole laundry-list of “including but not limited to” examples. If the author receives such an onerous-looking rights passage from a publisher or the publisher’s publishing lawyer or entertainment attorney, the author should not be intimidated. Rather, the author should look at it as an opportunity to make some money and have some fun. The author can first compare the list suggested in Electronic Digital Right Questions #1 through #5 above, to the publisher’s own laundry-list and the author’s own imagination. Then, the author can decide which if any of the separate digital or electronic rights the author wants to fight to keep for himself or herself.

If the publisher tells the author to blindly subscribe to their entire digital or electronic right[s] clause (or clauses), then the author still has the ultimate leverage, which is to walk away from the proposed deal prior to signature. Of course, this strategic approach wouldn’t be advisable in most cases – unless perhaps if the author has other written offers from other publishers already on the table. However, an author shouldn’t be forced by any publisher or any company-side publishing lawyer or entertainment attorney to sign away the electronic right, digital right, or any other rights that the author would rather keep – particularly rights which the author never specifically intended to shop to the publisher in the first instance.

The author should keep in mind the psychology and motivations of the publishers and their publishing lawyer and entertainment attorney counsel when doing all of this. A Vice-President (or above) at the publishing company probably woke up one recent morning, and realized that his/her company lost a great deal of money on a particular project by not taking a prospective license or assignment of an electronic right or digital right from another author. The VP probably then blamed the company’s in-house legal department publishing lawyers or entertainment attorneys, who in turn started frantically re-drafting the company boilerplate to assuage the angry publishing executive and thereby keep their jobs. When in-house publishing lawyers, entertainment attorneys, or others engage in this type of practice (some may call it “drafting from fear”), they tend to go overboard.

Accordingly, what you will probably see is a proverbial “kitchen sink” electronic right clause which has been newly-drafted and perhaps even insufficiently reviewed by the company-side publishing lawyers and entertainment attorneys, internally and themselves – wherein the publisher will ask the author for every possible electronic and digital right and every other thing, including (without limitation) the kitchen sink. The only response to such a broad-band electronic right or digital right clause is a careful, deliberate, and methodical reply.

Using the approach outlined in Section #1 above, the author and the author’s publishing lawyer or entertainment attorney counsel must separately tease apart each use and component of the electronic right and digital right that the publisher’s broad-band clause might otherwise capture, and then opine to the publisher a “yes” or a “no” on each line-item. In other words, the author, through his or her publishing lawyer or entertainment attorney, should exercise his or her line-item veto. It’s the author’s writing that we are talking about, after all. The author should be the one to convert the singular “electronic right” or “digital right” into the laundry-list of electronic rights. That’s why I use the singular number when referring to “electronic right” or “digital right” – I like to let the technologically-advanced author have all the fun making the list. That way, too, the author can tell me what he or she thinks the phrases actually mean, and what the difference between the two meanings really is, if anything.

Next, a few words in defense of the publishers and the publishing lawyers that work for them!

Up to now, this article discussed how phrases like the “digital right” or “electronic right” should not be assumed to be self-defining, even by and between publishing lawyers and entertainment attorneys, and how it is incumbent upon authors to reserve needed rights like the digital right or the electronic right to themselves in the context of a publishing deal. Next up, let’s examine concepts such as the digital right or electronic right from the perspective of the publishing lawyer and entertainment attorney, and the standpoint of fairness – who between author and publisher should in fact hold on to the digital right and electronic right, once and assuming that they are first properly defined?

3. Yes, Digital Right And Electronic Right Uses Do Compete With Traditional Book Publishing Uses.

A publishing lawyer or entertainment attorney may be called upon to handle an author-side deal. A publishing lawyer or entertainment attorney may also be called upon to handle, under different factual circumstances, a publisher-side deal. So, now, a few words in defense of publishers, I suppose.

There is a perception in the author and Internet communities that publishers should not be taking broad grants of the digital right or electronic right from authors, since “digital rights and electronic rights do not compete or interfere with traditional book publishing and other media rights”.

Not true. Not anymore. For proof of that fact, ask a few veteran news desk editors whether or not they followed, or were otherwise concerned about, what appeared on the Drudge Report during the Clinton administration. Ask the CFO’s or in-house publishing lawyers of a few traditional encyclopedia companies how they feel about Wikipedia.

Incidentally, although as a publishing lawyer and entertainment attorney and unlike some others, I tend to use the phrase “electronic right” or even “digital right” in the singular number, there probably tends to be no single consensus as to what constitutes and collectively comprises the singular “electronic right” or “digital right”. There has not been sufficient time for the publishing, media, or entertainment industries to fully crystallize accurate and complete definitions of phrases like “electronic publishing”, “web publishing”, “electronic right[s]”, “e-rights”, “digital right[s]”, or “first electronic rights”.

Nevertheless, electronic media and specifically the digital right and electronic right, have already changed our history. You can be sure that they will have some effect, at a minimum, on most author’s individual publishing deals henceforth, and will be the fodder of publishing lawyer and entertainment attorney discussion for years to come. The fact is, electronic uses inherent in the digital right and the electronic right already do compete with older, more traditional uses – particularly because digital and electronic uses are cheaper and faster to deploy, and can potentially reach millions of users in less than, as Jackson Browne might say, the blink of an eye.

Commerce is increasingly relying upon the Internet and other electronic phenomena, and the linchpin of this reliance is the digital right and electronic right. After all, you are reading this article, and ostensibly gleaning some information or material from it. The Web, for example, has already put a sizable dent in dictionary and encyclopedia sales, and anyone who tells you otherwise is probably an employee in a dictionary or encyclopedia publishing company or publishing lawyer in-houser in denial of the digital and electronic right, trying to protect his/her stock options. As the recent and well-known Stephen King pilot program will attest, fiction is the next subject matter area to be affected. Many of us book lovers including publishing lawyers and entertainment attorneys don’t like to think about it, but bound hard-copy books may soon become the sole province of book collectors and publishing lawyer vanity bookcases alone. The vast majority of book readers, however, may so wholly embrace the digital right and electronic right that they soon even lose the patience to wait for their “amazon.com” mailed shipment.

Very few people who work in the publishing, media, and entertainment industries, including as amongst fair-minded publishing lawyers and entertainment attorneys, should dispute that electronic uses inherent in the digital right and electronic right can easily cannibalize the older and more traditional forms and formats. This cannibalization will only increase, not decrease, as time goes on. Again, the author should put himself/herself in the mind-set of the publisher or its in-house publishing lawyer, when having this digital right/electronic right argument with the publisher or publishing lawyer. The publisher otherwise may want to invest marketing and personnel support in the author’s work, and perhaps even pay the author an advance for the writing. In their view, though, the publisher’s publishing lawyer or entertainment attorney argues, why should they do so, and not also capture the author’s digital right or electronic right?

The last thing that the publisher or its publishing lawyer or entertainment attorney wants to do is to pay the author – and then discover that the author has “scooped” the publication with the author-reserved digital right or electronic right, stolen the publisher’s proverbial fire, and undermined the publisher’s investment in the author and the writing. The concern of the publisher and the book company’s in-house publishing lawyer or outside entertainment attorney is rational and valid. If the publisher allows the author to potentially undercut the book by exploiting author’s reserved digital right or electronic right, then the publisher is threatening the publisher’s own investment in the author and in the written work. (And on some subliminal level at least, the company’s in-house publishing lawyer also knows that this could come out of his or her future comp).

Compromises are available. One traditional compromise effected between publishing lawyers or entertainment attorneys is a so-called “hold-back” on the digital right or electronic right, whereby the author promises not to use or license-out any author-reserved digital right or electronic right for a certain period of time following publication. The author will need some leverage to get a publisher to agree to such a compromise, though. And a publishing lawyer or entertainment attorney should draft the clause – the author’s publishing lawyer or entertainment attorney, not the publisher’s counsel!

An author may think that small “portfolio” uses (e.g., tucked inside greeting cards, on an author’s personal web site, etc.) are so minor, that they will never compete with publishing rights granted for the same work, and may tell the publisher or the company’s publishing lawyer or entertainment attorney as much. The greeting card example does seem innocuous enough, but the publisher and its entertainment or publishing lawyer will likely not agree with the author regarding the author’s personal web site. It is the electronic right or the digital right that really scares publishers and their publishing lawyers and entertainment attorneys, and is perceived as threatening to their long-term investment in the author and his or her work.

The distinction to be made here is between hard-copy portfolio uses, and digital right or electronic right “portfolio uses”. The fact is that computer-uploaded text is so easy and quick to transmit, receive, and read. The posted content’s popularity could also spread like digital wildfire, so quickly – for example, if a company hyper-links to the author’s site, or if “Yahoo” bumps the author’s site up in their search-engine pecking-order. Many successes have already been made by virtue of digital right and electronic right self-publishing, and more will follow. Traditional (book) publishers and their publishing lawyers and entertainment attorneys already realize this fact. Accordingly, traditional book publishers and their counsel also realize that once they acknowledge an author’s reservation of a “self-promotion” digital right or electronic right, they risk losing control of a potential wildfire dissemination method. Again, this would put the publisher’s investment at risk – but smart business people and companies and the publishing lawyers and entertainment attorneys that represent them, don’t put their own investments at risk.

4. The Party To The Contract That Has The Better And More Immediate Means and Resources To Exploit The Electronic Rights, Should Be The One Who Takes The Electronic Rights.

Here is the final point. If a contracting party has no means and resources to exploit a digital right or electronic right or a given bundle of them, then that same party has no business taking (or reserving to themselves) those same digital or electronic rights by contract or even negotiating such a position by and between publishing lawyers or entertainment attorneys. To analogize, if I am a screenwriter who options or sells my script to the Acme Production Company, LLC, through an entertainment lawyer, how should I react if Acme asks me to specifically and contractually grant them “theme park rights” in my literary property in the negotiation between the entertainment attorneys? (Don’t laugh – this practice is now very prevalent in film and entertainment deals).

Well, if Acme doesn’t have its own theme park, I (or my entertainment attorney) now have a powerful argument for reserving the theme park rights to myself instead. “Hey, Acme”, I (or my entertainment attorney) say, “… how do you have the unmitigated gall to ask me for my theme park rights, when you don’t even have the ability to exploit or use them yourself? You don’t even have a theme park!” I (or my entertainment attorney) then make it clear to Acme that I don’t intend to be giving them any trophies that they can put on a shelf to collect proverbial dust.

The same argument can work in the publishing context, particularly as argued between publishing lawyers and entertainment attorneys, regarding the digital right or the electronic right. The author can proverbially cross-examine the publisher (or try to cross-examine the company’s publishing lawyer or entertainment attorney) as to what successful past uses they have made of other author’s digital rights or electronic rights across multiple books. The company President may fudge the answer, but the publishing lawyer or entertainment attorney representing the publisher must answer truthfully. (One good reason to negotiate through counsel).

If the true answer to the question is “none”, then the author can use the “trophy” argument stated above. If the true answer is, alternatively, “some”, then the author has a negotiating opportunity to compel the publisher and its publishing lawyer and entertainment attorney to contractually commit to digitally and electronically publish the author’s work, too. The author can argue: “I won’t grant you the digital right or electronic right unless you, publisher, contractually commit in advance as to how specifically you will exploit them, and how much money you will spend in their development and marketing”. The author or the author’s publishing lawyer or entertainment attorney can then carve those electronic right and digital right commitments right directly into the contract, if the author has the leverage to do so. Again, one should not try this at home – but instead use a publishing lawyer or entertainment attorney.

5 Fashion Styles That Can Make You Look Gorgeous

Fashion is associated with women, they are the ones who actually want to beautify themselves. For fashionistas, to the corporate rulers, every woman loves dresses, makeup, accessories as these are the path towards phenomenal looks.

There are various fashion styles, sometimes we think that today is to look trendy, or today for something traditional, or today let me dress up in a classic outfit or oh! It’s summer, let me look casual! Trendy, Vogue, Casual are all fashion styles that we take up in our daily routine. These are all different types of fashion styles which can make one look better.

What does fashion mean to you?

Fashion is all about expressing yourself, and your identity. It is about expressing yourself through your dresses or clothes. It is everything that deals with clothes, accessories, footwear, jewelry, hairstyle and etc. It is a habitual trend in which a person dresses up in her best, does her make up, wears her accessories and shoes. Looking good is the main aim of fashion.

To some, fashion can mean good dresses, to some fashion can mean expensive clothing and accessories. But you must pair your dresses correctly to look chic and stylish. Failure to do so can be a disaster and make you embarrassed in front of everyone.

Wearing the same dresses in the same style can make you a boring person. So before you go out wearing something look at yourself in front of the mirror, check yourself whether the particular dress goes with your body shape or the accessories. Ask yourself whether the accessories you are planning to wear match your dress. Ask yourself will I be able to carry myself?

Check what kind of makeup match the dresses? The shoes, the hair! Everything must match each other perfectly. And you can make you a fashionable diva. If you love fashion, you must know the various types of styles which you can try, the next time you visit a party. Go through the various fashion styles.

Trendy fashion style: It is always up to date. Girls following this style wear all kinds of dresses without keeping any constraints. Trendy means something that is in the trend. Ripped jeans, tank tops, long jackets, high heels, open hairs are examples of trendy fashion style. Celebrities like Jessica Simpson, Miley Cyrus, Paris Hilton, Jessica Alba follows this style. Well, attitude is everything when it comes to pulling off a trendy style.

Chic Style: Chic mans a style that is highly fashionable. Chic is a statement that makes one look striking and exceptionally smart. This style is marked with well-tailored designs that are classy. Strong color, superior styles, that seems casual but also not too casual. So, basically chic style means something very classy, trendy, and also gorgeous. So if you are a part of the chic club, then your wardrobe is a symbol of style.

Sophisticated Style: Style that is polished, quality, and posh are known as sophisticated style. Dresses like Skaters Dress, Brocade Dress, Sheath Dress makes the style statement. A sophisticated style is for the ones from higher status and high-class personalities. Culture and luxury mean most of them who chooses this style of fashion.

Vogue Style: Vogue is something that comes back with time. Fashion that existed for the time, then again regained its popularity by combing some changes in its design, dress material, or styles are said to be vogue. A few vogue dresses are Skaters Dress, Brocade dress, Bandage Dress. These dresses regained its popularity over time and became one of the most fashionable dresses that are loved by women.

Preppy Style: The school or college look is the tag name that denotes a preppy style. Dresses that are collared and are matched with skaters dress or A-line skirts with girly blouses are preppy styles.

To stand out of the crowd you must choose such styles that make you look gorgeous. Just do not keep copying from others, explore the world of fashion, experiment the possibilities and find out what makes you look gorgeous. Women are the finest creation of God. They are borne diva but divas also need to be fashionable. Therefore, choose the style that suits you the most. Good Luck!

Sending Gifts to Pakistan on the Eid Festival

Sending gifts to Pakistan is not difficult, and the Eid festival is when most people send such gifts to their loved ones. A gift is a wonderful way of expressing your love to someone. It will bring a smile and cheer to the face of your family member that may not have seen you for a long time, but even if they see you every day, the Eid festival is a good time to send gifts.

However, it is not only Eid gifts that you send to Pakistan but you can send gifts to Pakistan in every season. Although the best seasons for sending gifts are Eid and Ramadan, you can also send gifts on Eid-ul-Adha and at any other time. For the Eid occasion, a nuts tray is an awesome gift. A tray of mixed nuts such as pistachios, cashew nuts, peanuts, almonds and walnuts can be gifted to your loved ones.

It is very important to celebrate the Eid festival by exchanging gifts with your close relatives. There are vast ranges of gifts that you can select from and present to your family and friends. Though there are several offline gift shops and markets in the streets and shopping malls, online gift stores offer an inexpensive way of buying and sending gifts to Pakistan with just few clicks. You can save a great deal of time, effort and money by using online gift shops for sending presents to your loved ones.

You do not need to walk the streets to visit offline shops to browse through items and make your purchases. When you use an online gift shop you can lay back in your own home and browse through the online catalogs before deciding on the item you want. You can pay online, and save time, effort and petrol costs. Your time is precious. You can make someone feel very special by selecting ideal gifts for your beloved parents, families or friends from these stores.

You do not need to waste your time walking through the different shops and trying to find gifts that suit you, or even searching shops then ending in frustration when you cannot find suitable or valuable gifts. If you want to send gifts to two or three different friends or different locations, then online shops such are the perfect solution for you. As with online gift shops around the world, the Pakistani online shops are also catching up pace. You just need to place the order and tell them your required delivery date and they do the rest on your behalf.

Life is becoming busier and more hectic, so much so that one cannot find time to wander around a market to hunt out suitable gifts for different people. Simply search for the online gifts shops offering delivery to Pakistanor enter the website’s URL of one of your known company into your browser address bar and you easily find a variety of awesome gifts that are suitable for almost every occasion.

If you know that you are going to be busy or totally tied up close to the date of the occasion, such as Eid or a birthday, you can book your gifts in advance and arrange them to be delivered on a specific date. You can order gifts to be sent on an Eid occasion a month or two ahead of Eid, or do the same with someone’s birthday so that you do not fail to mark the occasion because you are busy.

Many people book their orders in advance to make sure they do not forget it later, or because they might get so busy at work and Eid preparations that they won’t get time to send gifts at the time the occasion arrives. Gift-sending shops will take care of that. You just need to specify the date and time of the year you intend to send the gift and the rest will be done for you.

On the other hand, if you forget to send the gift when you should have, some online gift shops can deliver your gifts urgently and even offer midnight delivery. A number of online gift shops will offer that service that can be of great value to the busy executive. They can handle any urgent emergency order round the year on any occasion needed.

For example, if your sister’s birthday has arrived and you forgot to place the gift order for her, you can give a call or fax to online gifts shop just a day before, or even the night before, to deliver your gift the very next morning along with your greeting card and message.

They will do it for you instantly and take care of all your gift-sending requirements. Whether it is a celebration of Eid or Ramadan or any other, occasion you can always trust the name of Giftshift.com in handling all your gift delivery needs. If you do not find anything specific that you are looking for on our website then just fax or email details of the type gifts you want to send. The rest will be done by them to assure your satisfaction.

What is Internet Marketing? Define Internet Marketing

What is Internet Marketing? In broad terms Internet Marketing refers to promotion of commerce or business through the Internet medium. It is the way in which products or services are promoted and sold over the Internet. Internet marketing, also called web marketing, online-marketing and even “i” or “e” -Marketing uses the Internet to deliver all types of media to a global and even local market. The relatively low cost to disseminate information to a global audience makes it very unique compared to marketing of the past.

The interactive nature of the Internet has forced the evolution of its marketing strategies to include specialist skills to deal with the instant response and eliciting responses now present with this unique medium. A device must be included in your Internet marketing system to accommodate this instant response.

The term is also inclusive of the post-sale relationship between a business and its customers because it encompasses digital customer data management and electronic customer relations. It is widely used in the business world today and referred to as ECRM – Electronic Customer Relationship Management. This makes the scope larger as it refers to the on-going relationship supported by the Internet, e-mail, and wireless media.

Internet marketing ties together the technical and creative aspects of the Internet including design, branding, promotion and advertising, as well as sales. Here are three main objectives to help define Internet Marketing:

(1) Deliver a company’s message or presence in a marketplace. Branding its culture, mission and value as well as educating or detailing its products or service via the computer screen.

(2) Collect data research not limited by demographics, individual preferences or past requirements of both existing customers and (different groups, classes, stereotypes, etc.) as potential new customers.

(3) The actual selling, collection of fees, tracking of distribution and follow up of goods, services, or advertising space over the Internet.

The way in which one reaches out via the Internet to its prospective client is through different strategies. The more popular Marketing Strategies utilized by Internet Marketers are Social, Content and Paid marketing approaches. Each has their own attributes as well as limitations or short-comings.

There are several Business Model terms associated with Internet Marketing.

E-COMMERCE (electronic-commerce) refers to business over the Internet. Web sites such as Amazon.com and eBay are all e-commerce sites. The two major forms of e-commerce are Business-to-Consumer (B2C) and Business-to-Business (B2B). So, while the neighborhood baker doesn’t sell his cupcakes on the Internet, he utilizes the benefits of the Internet to search and find the supplier with the best price for flour.

LEAD-BASED WEBSITES are organizations or groups of websites that create value by capturing prospective clients or sales leads from the Internet to be utilized by or sold to a third party.

AFFILIATE MARKETING is a process in which a product or service is promoted by many people or entities that receive a percentage of the profits when the product is purchased. The Affiliate did not develop or produce it themselves. The owner or producer of the product has authority over whom and how their product is sold and customarily provides the “affiliate” with marketing materials; i.e. Website links, capture pages, and banner ads that have encoded tracking – the device used to ensure the affiliate gets credit for the sale.

LOCAL INTERNET MARKETING is the process used by a company with a “local customer base” that traditionally sells by warm market referrals, signage, location visibility, and utilizing the Internet to find and cultivate relationships with potential customers to later interact with offline.

BLACK HAT MARKETING is a form of Internet marketing or search engine optimization (SEO) commonly referring to the practice of using unethical techniques or employing deceptive, abusive, or less than truthful methods to make your search rankings go up to drive more traffic to your website.

The birth and growth of Internet marketing has also made a mark on the “personal worlds” of many individuals. With Internet Marketing offering individuals infinite ways to promote and market themselves, products, services and opportunities, the world of home-based-business has exploded.

Initially for the person that desires to capitalize on this medium for their own person commerce, Internet Marketing can be confusing or even overwhelming for most. Each method seems to have its own language to decipher and obstacle to overcome. A system or platform to manage all of these strategies can be very useful if it includes support training. It’s best to only choose 1 or 2 initial strategies to focus on at one time. The best strategy for one person may not be the best strategy for you. Most important is that you discover the strategy that you like most and are comfortable performing. If you enjoy the process you will be certain to be better at it. And the better you are at it, the more likely you’ll become consistent with its implementation. You will find that the strategy you choose is much less important than your ability to do it consistently in order to achieve results.

I agree it can seem overwhelming at times, but actually the process can be quite simple if you focus on just one strategy at a time. There are unlimited training courses, Internet tools, websites and programs to help you be more effective and efficient in each category or strategy you choose. Having someone to help guide you through the process, pointing out which tools and programs offer the most help, not only will save your sanity, but also can save you hundreds of hours and thousands of dollars in the process.