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Internet millionaires don’t acquire their wealth and success by luck of the draw. They know the secrets to success. These secrets are so valuable that if you implement them, you will succeed in your own Internet business.

There are two general types of secrets that Internet millionaires know which include external and internal secrets. We will discuss these secrets in detail in hopes that you will use them to your advantage and become an Internet millionaire yourself.

First, let’s look at the external secrets that Internet millionaires have in their tool kit.

Internet Millionaire Secret #1: Internet millionaires recognize that strategy should be the foundation of any marketing plan. It is critical to have a marketing strategy and not just jump into marketing techniques. For example, we don’t have to use mass advertising anymore because mass advertising doesn’t have strength because consumers have choices. You would have wasted valuable time and money if you used mass marketing techniques without first strategizing about the state of the market.

Internet Millionaire Secret #2: Internet millionaires are not generalists. They focus on selling their products and services to specific niche markets. The business market in general is going in the direction of niche markets because customers have more choices regarding places to buy their products.

Internet Millionaire Secret #3: Search for and grab untapped markets. Seek out people that have not been able to have access to your product in the past. In untapped markets, you don’t have to deal with competitors which helps keep the marketing costs down. In addition, you will be able to establish a rapport and trust with your customers.

Internet Millionaire Secret #4: Your backend strategy is crucial to success.
You want several profit centers that allow you to sell your products and services to more customers. The backend part of your company supports these profit centers. It diversifies your business so you are bringing in money through many different areas. You can’t rely on retiring early if you only have one profit center.

Internet Millionaire Secret #5: Try to automate as many services as possible. This will allow you to sell services 24 hours a day 7 days a week online. Automate your service centers to cut down on costs and help your customers at all hours of the day.

Internet Millionaire Secret #6: Set up your business so that you are replaceable. You can make yourself replaceable by branding. Branding encompasses yourself or the value that you provide. Branding yourself is lucrative, but it doesn’t allow you to take a break because you have to make every decision. Branding your value, on the other hand, sells your expertise and not your time.

Internet Millionaire Secret #7: Don’t work alone; build a team to support your business venture. Create a team of marketing, business, a mentor and accountability individuals. Remember, two heads are better than one so you can discuss ideas and strategies you have for your business.

Internet millionaires also have internal secrets. An Internet millionaire has self confidence and believes in their product. They are able to make decisions quickly. They have learned the correct information and modeled others that have proven success. They are not afraid to make a mistake and realize that their job doesn’t define who they are. One of the most vital secrets is that Internet millionaires persevere and never give up no matter what obstacles cross their path.

Fear and anxiety are among the fundamental things that are part of the collective human psyche, which easily explains the existence of the horror genre. However,horror, dread, and anxiety are not easily captured in the written word, such that most horror stories lose their “bite” after time. There are, however, quite a few that endure and have come to be considered among the finest examples of horror in existence.

Fear is part of the fundamental core of human existence, as connected to the basic functions of survival and the psyche as the survival instinct or the need to mate. Fear and anxiety, therefore, are among the staples of any genre that deems itself fit to entertain the masses, an art form to be mastered in the hands of a true artiste. Fear, dread, and anxiety are all integral components of any successful horror story, for example, but not everyone who writes horror manages to get the mix of the important elements — pacing, plot, and characterization — all of which must be just right to create a classic that will frighten generations long after the first copy was printed. There are a few that manage to accomplish the difficult feat of being eternal in their horror and long-lasting in their ability to turn anxiety into outright terror.

Edgar Allan Poe, author of “Annabel Lee” and “The Fall of the House of Usher”, is easily recognized as one of the foremost masters of horror and the macabre. His works have inspired terror and anxiety in many individuals, primarily through the use of heavy psychological tones, as opposed to the gore and blood themes used and abused by writers of his time. Poe’s collected works easily counts as some of the most frightening material ever written, especially now, in an age where horror movies are relegated to two hours of bloodshed and senseless violence, lacking any true horror and relying solely on shock value to appear “scary.” Poe also stands out as being among the few who can make even the most mundane things seem utterly terrifying, a feat emulated by Stephen King and several Japanese horror authors, but never truly duplicated.

In a completely different vein of horror from his predecessors, and arguably creating a sub-genre of horror through his works, H. P. Lovecraft also stands out. His works, while lacking in humanity, are difficult to see as anything but terrifying, particularly because of the apparent lack of humanity in them. In contrast to writers of previous generations, Lovecraft focused more on the truly monstrous, ignoring the human element that most horror writers tended to insert into their works since the days of the Gothic era. His stories were littered with monsters that knew neither morality nor mercy, seeing humanity as insignificant insects and, in Lovecraft’s malignant world of ancient races and Elder Gods, humanity was insignificant. He also brought back something from the Gothic horror era, showing his readers that knowledge, even just a little knowledge, can lead to the most terrifying of discoveries. This is perhaps best exemplified by the so-called “Cthulhu Mythos,” a collection of stories that centered around Lovecraft’s anti-mythological beings.

Among the most enduring horror classics in the world is that of Shelley’s “Frankenstein,” which combines the elements of horror with the intrinsic questions that plagued morality and philosophy at the time. In some ways, the story is one that puts a new spin on the old ghost story, in that the “ghost” is inevitably caused by the actions of mortal men who meddled in things they were not meant to. The story, aside from being a genuine tale of terror, also took on the role of a lesson in morality and the limits to just how far medical science could go. Prolonging life is one thing, but bringing back the dead is another thing entirely, which is one of the subtle messages of the novel. The underlying question of whether or not Frankenstein’s creature is the monster, or if it is Frankenstein himself, also contributes to making the story a memorable, chilling tale.

However, very few stories can truly stand up against the pure terror and the subtle anxiety and dread caused by Bram Stoker’s infamous novel, “Dracula.” The novel is a hallmark of the Gothic horror era, presenting a villain of potentially epic scope in the guise of a remarkable gentleman and nobleman. It deviated from other vampire stories of the time in that the vampire, Dracula, was not monstrous in appearance. He looked every inch a master and nobleman, establishing the “lord of the night” archetype that would be a stock image of vampire characters in literature for centuries to come. It also had all the elements necessary to both frighten readers and keep them coming back for more, marking it as the most enduring horror novel in history.

“…Meet this solemn question with a strong, simple ‘I must,’ then build your life in accordance with this necessity; your whole life, even into its humblest and most indifferent hour, must become a sign and witness to this impulse.” – Rilke

We are, all of us, meant to create. We are creat-ures, thus it is evident in the world around us that as a spider spins a web, a bird builds a nest, humans are possessed of a spiritual and biological mandate to spin and build a world of beauty and function. The human distinction is the ability to make symbols. Symbolism is the art of investing the world around us with meaning by expressing the invisible or intangible through visible or sensuous representation. This is the simplest, the least unsettling definition of art and creativity. From this definition, we have come to believe and to thoroughly accept without question that art belongs to those who paint the paintings, write the words, and mold the clay, into those representations of the intangible and the invisible. Art has therefore been divided into those who do and those who don’t.

The reinstatement of art into every one of our lives, both in our ability to receive and to recreate it, is to return to living with meaning. Creativity is, like evolution, like all growth and change, an irrepressible force in nature. Thus far, only humans have attempted to turn away from this call, and a case can be made that it is this turning away that is the cause of so much of our pain, suffering, and longing. This suffering, however, is the result of confusion and misdirection, not hapless circumstance.

Art, like science, philosophy, and civility, is our best defense against the insupportable weight of all that we don’t know. If we could disperse the weight among us citizen artists, come up with a more inclusive outlook, we could lighten the formidable load of ignorance. In the broadest sense, art is a response in whatever form it takes–an expression of the love and beauty and terror as it is given to us through the visible bounty of Nature—that pulls us further out of the mire. Creativity is anything that fosters that indwelling spirit, any creation or activity that advances the progression of the unimpedable energy of growth that is life. The replication of that love and beauty, the balm that soothes the terror, or the release provided by the recognition of that terror, is our task, is the way of art and creativity, a whole-some response to existence.

Whether you are a fireman, a pathologist, a babysitter, or a banker, you must be an artist. Must be means, first of all, the recognition of this as your identity, as in, “Oh, you must be an artist…” Secondly, must be makes it imperative. You must respond to the dignity evolving out of creaturehood toward a greater man, toward God, and remain fearless as well as awe-struck by the vast implications. In the meeting of this challenge, you will be recognized by a light in the eye of those you encounter, as extraordinary.

The commitment to creativity, like any other commitment, will become an integral, necessary, part of our life once we realize that not only does our art spring from and define the core of, yes, our own identities, but more importantly, that it is an expression of that which is greater than ourselves. Thus who we are becomes linked with the world, and it is given meaning and purpose by what we do with this link. Creativity is the purveyor of meaning.

We begin with a sense that there is something within us that must act and express. We begin by going beyond the sadness we have experienced at having this something repressed, discouraged, buried. We begin with the thin person with the fat body, the sober, healthy being underneath the addict’s skin, the lover inside our neglected hearts. We begin with the hope and the longing of the creative force within ourselves.