Writing and Design Samples.
Because we all know how important sample work is to a potential employer...
First up, my online writing samples:
(some news, some corporate blogging, and a few essays)
From my time at Buford Weekly Illustrated:
From my time at Pro Edit:
Essays Archived at Scriggler:
Next up, archived writing samples:
(a press release, a magazine article, and an interview)
This is a press release about Shooting Star Comics that went out to news sources and industry magazines.
JEFFREY MOY’S VIDEO GAME GALS A NEW HIGH SCORE AT SHOOTING STAR COMICS
P R E S S R E L E A S E
FOR IMMEDIATE RELEASE
For Information, Please Contact:
Sean Taylor, Editor-in-Chief of Shooting Star Comics
Scott McCullar, Creative Director
Alpharetta, Ga. (March 12, 2004) – He has wowed fans with his work on LEGIONNAIRES, GEN 13, and STAR TREK VOYAGER. And he’s one of the most sought after artists at conventions. So, after becoming one of the most talked about artists in 4-color comics, what does Jeffrey Moy do? He takes a step into the world of black and white publishing to contribute an exciting tale of battling beauties to SHOOTING STAR COMICS ANTHOLOGY #4.
Jeff originally debuted the “Video Game Gals” concept back in 1996 and 1997 as a few pinups in the ASHJAM ASHCAN, but it makes it official comics story debut in the pages of SHOOTING STAR COMICS ANTHOLOGY #4.
“I knew I wanted to draw some female characters, like I always do, but what?” said Jeff. “Getting inspiration from the many Japanese fighting games that spotlight women as the main characters, I thought it would be a neat idea to create some for myself. Taking elements from television and movies, my concept is a mixture of TRON, REBOOT, QUANTUM LEAP and SLIDERS. The format would offer me a great variety of stories to do and hopefully keep it entertaining for the readers.”
The result is a beautifully illustrated story filled with action from beginning to end.
“When I became editor of Shooting Star Comics,” said editor-in-chief Sean Taylor, “my first priority was to con, beg, or blackmail Jeff Moy into working with us in some capacity. I’ve been a fan of his work since I first saw it in LEGIONNAIRES. So, imagine my surprise when I got lucky and didn’t have to con, beg, or blackmail him at all.”
In addition to writing and drawing the “Video Game Gals” story, Jeff also drew the cover to SHOOTING STAR COMICS ANTHOLOGY #4.
“Powerful and definitely eye-catching” said creative director Scott McCullar. Jeffrey did a fantastic job capturing the various characters from our quarterly anthology with a special focus point of his character, Amber, for our cover of issue #4.The other fan-favorite characters growing on the readership are there too on the group shot cover – the always eclectic Bedbug, the rough around the edges Yellow Jacket: Man of Mystery, the luscious Fishnet Angel, even the Victorian aged Time Meddlers from guest writer Michael Hutchison’s mind are there with their bowler hats.”
McCullar is ecstatic that Jeff Moy joins the ranks of our growing list of professional artists who are illustrating, “…knock-‘em out of the ballpark covers each time for Shooting Star Comics,” he said, “and it is even sweeter to know that his electric art is ALSO INSIDE the book also with the energetic “Video Game Gals. We’re glad to have him onboard our growing ranks as a guest.”
“Video Game Gals” appears, along with other exciting stories from Shooting Star regulars, in SHOOTING STAR COMICS ANTHOLOGY #4, on sale in May 2004 in fine comics stores everywhere. For ordering information, see page 318 of the March issue of Previews from Diamond (order code #MAR042760).
SHOOTING STAR COMICS, LLC is a new comics publisher, committed to publishing a wide variety of genres and styles. Including both new talent and longtime legends in the industry, Shooting Star Comics produces a quarterly anthology series and will also be releasing new titles later this year.
Shooting Star Comics, LLC is a proud member of the Small Press Association. More information about Shooting Star Comics can be found at the company’s website, www.shootingstarcomics.com.
A .jpeg of the cover to SHOOTING STAR COMICS ANTHOLOGY #4 and samples from the book can be downloaded from the website.
For additional sample artwork and other inquiries, please contact:
Scott McCullar, Creative Director
Shooting Star Comics, LLC
5665 Hwy. 9 Suite 103-140
Alpharetta, GA 30004
This is an article pitched to Discipleship Journal, an evangelical magazine.
Every Lone Ranger Needs a Posse
By Sean Taylor
Geoff was perhaps the most irritating person I’d ever met. Not only that, he quickly became the most antagonizing person I’ve ever tried to live my faith in front of and share my faith with on a one-on-one basis.
For starters, Geoff wasn’t just an agnostic. He was a well-read, articulate, and highly intelligent agnostic, the kind who could make first-year theology students run screaming for the clichéd hills. And he remained just as adamant about trying to convince me I was an idiot for believing inGod as I was to convince him he was missing out by not believing. For nearly two years we went back and forth in the copy room we shared with two other workers, listening and debating, often doing our best not to let conversations degenerate into petty arguments—often failing—neither of us swaying the other.
So why didn’t I quit, just give up and write him off?
Because of Cassandra, or San as her friends called her. San was my mission partner in prayer, in encouragement, in active sharing of my faith, and in accountability to keep me from becoming un-Christlike in my zeal to help Geoff come to faith. Simply put, San was part of a group that “had my back” when I needed it. Without San’s help and partnership, my time spent with Geoff could have—and probably would have—been much less effective and Christ-focused.
There were others besides San—Todd, Dan, Tim, my wife, my pastor. Although we never formally dubbed ourselves an evangelism support group or held regular meetings, we learned several lessons about not going it alone in the Great Commission. It was the support of this “posse” that helped me be ready even when I was alone with Geoff or others with whom I shared my faith.
It was a lesson learned from the example of Jesus. While it’s often spiritually romantic to think of Jesus as the lone religious rebel, turning the world on its head, we can’t forget that He spent His entire ministry surrounded by a group of friends. Peter, James and John formed His closest group, followed by the rest of the disciples, and then there remained the group of 72 others who apparently also dedicated their lives to following Him around. While Jesus was a unique person, His ministry was characterized by a network of group support.
[subhed] Jesus never wore a black mask
Jesus is often labeled with various job titles for His time on Earth. We talk about Him as a pastor, a roaming healer, a traveling preacher, a religious scholar, a spiritual rebel, a missionary, or even a church planter, but He was never primarily any of those things, according to Alan Huesing, strategist for Youth Mission Education for the Southern Baptist Convention’s North American Mission Board. In that role, Alan bears the responsibility for starting and strengthening mission and evangelism support groups for students in local churches.
“Jesus was never a pastor like His brother James,” he says. “He wasn't a church planter like Paul, or a missionary to another culture like Philip. Although Jesus personally led several people to salvation, He was no mass evangelist like his cousin John the Baptizer. Occasionally He fed, healed and restored physical life to needy people, but He clearly did not want to be known as an administrator of social services. Jesus left the Christian book-writing contracts to Matthew, Mark, Luke and John. He preferred to delegate baptizing, ordaining and conferring of degrees to others. Jesus never had a ministry though music. He would have laughed out loud at the thought of being a denominational worker like me.”
What Jesus did was invest His life in 12 men to train them, equip them and model for them how to do the mission He was going to eventually turn over to them. Everything else—the preaching, the healing, the run-ins with religious leaders—was icing on the proverbial cake. His focus fixed on those men and getting them ready for His plan for them. He began—to put it in blatantly corporate terminology—by assembling a team and giving them not only the resource of Himself but of each other. For their “field training,” He even sent them out in groups of two, not alone. And when they arrived in a new location to do the work, one of His first commands instructed them to find some folks to support them. If they couldn’t, the next command told them to split and hit the road for another town.
So, why do we so often treat evangelism as something that must be done as a Lone Ranger?
“I believe time commitment is the main reason,” says Scott Overby of Morningview Baptist Church in Montgomery, Alabama. Scott leads a group that strives not only to do ministry projects, but also to hold each other accountable for verbally sharing the reason for the ministry.
“Most people already feel overwhelmed with everyday life and just find it hard to commit to another person,” he says. “Unfortunately this is a weakness, for I believe just as Christ traveled with His disciples and even had a few a little closer to Him, we too should have that. Having a support group is more important than most realize. I think of the model Jesus gave us where He sent the disciples out two by two. He did this for a reason. He knew we needed encouragement and support.”
While evangelical soloists must often face discouragement and rocky soil alone, those involved in a group can look to one another for prayer support, encouragement, accountability and helping each other discover and use spiritual gifts.
Lone Ranger Christians, however, can be in for “a difficult road when it comes to sharing their faith,” says Tony Whittaker, editor of Web Evangelism Guide (www.gospelcom.net/guide/). “Christians are not islands, and we should always be accountable to someone for what we are doing and how we are doing it,” he says. “Maybe we don't realize the dangers. Certainly there are forms of evangelism that can be done very much as individuals rather than as part of a team. Yet the Bible indicates that any evangelism is spiritual warfare, and so we should expect opposition and need prayer.”
Accountability is at the heart of Scott Overby’s group. “Ongoing commitment to one another is crucial,” he says. “I believe Satan will use discouragement in any form to steal the joy from a person. Through commitment to one another the right to accountability is established. You now can ask your partner how things are going and get very ‘in your face’ if need be. Through accountability you can encourage or rebuke whatever is necessary. The common goal of serving the Lord can be the reminder for any man to draw back closer where one’s relationship with the Lord may be lacking.”
With the advent of Internet chat rooms and e-mail, accountability no longer necessarily means a group of people must meet together in a room in the church basement on whatever night the church isn’t hosting children’s activities.
“The Web makes it seriously easy to keep in touch with prayer partners or mentors and support each person,” says Tony Whittaker. He’s even learning lessons from his non-church projects on how to better incorporate Internet communication into his evangelistic endeavors. “A secular heritage preservation project I know is incredible. They take the trouble to do a daily email roundup of progress. It really makes me feel I belong to it.”
While prayer, accountability, and encouragement may often become the highlights of a group, helping each member find and use his or her spiritual gifts is perhaps one of the most crucial responsibilities if a group wants to remain focused on spreading the good news.
“One of the most important things to deal with in a group,” Scott Overby says, “is plugging in all the people involved, helping them discover their uniqueness and how God has designed them, helping them make the connection between who they are and how God wants to use that for the kingdom.”
Often God will use members in ways they don’t expect, as Scott discovered during a recent mission project. “One of the guys serving that day had a brother who was unchurched and unsaved who wanted to help. It turned out that the whole day was not about helping this poor widow get her house ‘warm, safe and dry.’ It was about sitting on the roof of the house and helping another brother share our faith with this lost soul. He did not receive Christ that day, but we know our job was to be faithful and share out of the overflow of our own lives. His comments got back to us a few days later. He said we were the most real people he had ever worked with, that what we were doing was really making a difference, and he wanted to be a part of it.”
[subhed] The dangers in them there hills
“The enemy does not like people doing evangelism,” says Tony Whittaker. “Especially effective evangelism. So Christians doing it will be attacked—of course at their weakest spot.”
That’s where having group support can be a strong help, but be warned—being in a group also comes with its own dangers. For example, a group can take up a lot of time. “The speed bumps may come in consistent attendance or participation. Another may be overcommitting time to the project or ministry instead of to the number one ministry—your family,” says Overby, whose work involves him primarily with other men.
It’s also not uncommon to have a strong, energetic start that leads to a more leisurely pace or perhaps even a complete stop because of spiritual burnout. Overby cautions, “This is a marathon walk with the Lord, not a 100 yard sprint.”
Burnout and time consumption are not the only potential pitfalls, according to Overby. “Another caution is confidentiality,” he says. “You must find or have the Lord direct you to the right relationships so that trust can be established.”
Moses Catan and Lorenzo Cosio, leaders with the Gen Rev ministry (www.genrev.net), echo the importance of maintaining trust. Without trust, a group designed to deal with intimate accountability regarding evangelism can quickly become superficial and ineffective.
“One thing that must be guarded very well within a support group,” they say, “is that trust is not violated. This must be guarded well—by seeing to it that everyone involved lives a life of integrity, and to correct and discipline those who are not—or else the teamwork simply corrodes. Distrust and suspicion will only breed rivalry and unhealthy environments.”
An unforeseen danger for a group, ironically, can be success, warn Catan and Cosio. “When GenRev goes on campus concert tours,” they say, “they are usually received by high school and college students very well. Sometimes, they are even treated like celebrities, with teens screaming and asking for autographs. Belonging to a support group drills the ‘sense of mission’ in them, that this is all about proclaiming Christ and helping transform youth culture through the gospel messages, along with the message that this is a ‘team effort,’ with no single member having a right to claim singular responsibility for success. In the light of successful missions like this, the support group instills focus on the team—a focus based on Luke 17:10—that we are merely unprofitable servants doing what we are obliged to do.”
[subhed] So, what happened to Geoff?
While San and I invested a lot of time in modeling for and sharing with Geoff what it meant to become and be a Christian, Geoff never acknowledged his need for a Savior. Still, long after he left the job, San and I continued to pray for him and each other and hold each other accountable for telling people about Christ. Perhaps Geoff was our “trial by fire,” as the saying goes. Or perhaps something we said took root—or will take root—later.
Regardless, I still pray for Geoff, a skill and discipline I learned from the time San and I prayed together, and in almost every accountability group I’ve been a part of since, I’ve asked the members to add Geoff to their prayer list and stay on me about praying for him. I hope to one day have the opportunity again to ask him if he’s been mulling over any of the conversations we used to have years ago in that cramped copy room.
And I know that I have San and my other support partners to thank for the change in me that led to becoming that type of person.
Sean Taylor is a freelance writer living in Atlanta, Georgia, and the former associate editor of On Mission magazine.
[sidebar] Tips for maintaining an evangelism support group
Alan Huesing’s job requires him to organize and equip evangelism support groups all over the United States and Canada. As such, he has quickly learned quite a few things about how that’s done. Here are some tips from Alan for maintaining and strengthening your group:
He also provides these cautions and warnings to help your group stay on track:
This interview is an article I did for The Pulse, an online comics news and features magazine.
A Walk on the Weird Side with Stefan Petrucha
By Sean Taylor, special to The Pulse
He’s perhaps one of the most famous comic book writers whose name you mispronounce.
Stefan Petrucha (Steh-fahn Peh-trook-ah) has been the writer behind two of the creepiest comic book adaptations of sci-fi and horror television series in the history of the medium. For longer than any comic book should be allowed the spot, his X-Files #1 (with artist Charles Adlard) was the most sought-after back issue in comic shops and online. He’s been involved in comics publishing as a writer in both the indy and mainstream scene. But not only that, he’s also a published novelist, and is most recently the creative voice behind a new Dr. Who-based novel series.
For those of you who’ve been living under a rock, that’s who Stefan Petrucha is, and he was kind enough to spare a little time to talk with the Pulse about what’s been going on in his world.
Pulse: So, you’re written for some of the world’s most popular characters, from Mulder and Scully to the cast from Doctor Who. What’s it like to have the futures of such well-known and well-loved characters at your fingertips?
Stefan Petrucha: To clarify, Time Hunter isn’t a Doctor Who novel, it’s a spin-off series. Telos Publishing did a very successful series of novellas starring the good doctor, but Time Hunter begins where those end. The Time Hunter story gets its start in The Cabinet of Light, which does feature Doctor Who. It also introduces the time-hopping escapades of Honoré Lechasseur, an African American vet who stayed in London after WW II, and Emily Blandish, who appeared mysteriously in town one evening, wearing what everyone took to be her pajamas. Lechasseur’s a “spiv” -- a black market operate, which was most of London’s economy at the time. It also turns out he’s “time sensitive” -- he can see the past, present and future. Doctor Who puts him in touch with Emily, who is a “time jumper.” He finds coordinates, she takes them there. The Time Hunter series itself, The Winning Side, and now my own Tunnel at the End of the Light, feature the ongoing adventures of Honoré and Emily. And it’s a genre-hopping hoot if I do say so myself!
Pulse: How did Time Hunter your gig come about?
SP: Publisher David J. Howe reviewed and enjoyed one of my White Wolf stories. He was also familiar with my X-Files comic work, and asked if I was interested in pitching. Their proposal for the series struck me as
exciting and a lot of fun. After we batted around a synopsis a bit, I was on my way.
The only problem was all the ‘Americanisms’ I wound up using, you know, being American, which they had to carefully cut out. I did have a lot of help from London resident Lesley Logan, my sister-in-law, who helped me out with selecting the appropriate neighborhoods for the various scenes. I think in the end it worked out pretty well.
Pulse: Can you share a few examples of some of those ‘Americanisms’?
SP: Oh, it was mostly spelling, like color/colour, realized/realised, candy/confectionary that sort of thing.
Pulse: How is working on novels different than working on comic books?
SP: Primarily one doesn’t have any pictures to rely on to tell the story. In the full comic book script, the writer pretty much describes all the pictures, and you can do that with some evocative flair, to get the artist in the mood, etc. but it’s not the same.
Comic book production is also much more a partnership between the artists and writer, and you have to have a good match to do your best work. In novels, while the editor is certainly a partner of sorts, and incredibly invaluable, the writer is obviously more center stage. For me, there’s a terrific satisfaction in having a product that’s complete when I’m finished working on it -- something that I can’t say about screenplays or comics.
Pulse: How is what you do for both mediums similar?
SP: On the level of plot, characterization, themes, and so on -- all the structural elements are basically the same. Comics and film are inherently more ‘surface’ mediums, in the sense that they can more naturally show you what they mean, whereas novels and prose more quickly lend themselves to the internal, more naturally reflecting the inner workings of characters.
Pulse: As a novel writer and a comic book writers, why do you think there is such a disconnect between readers of the two art forms, whether in reality or just the perception?
SP: I think people in this country simply don’t read comics the way they do in much of the rest of the world, a state of affairs that, I think, can be traced back to Seduction of the Innocents and Frederic Wertham, which stigmatized the media not only as something that was directed toward children, but also as something ‘dirty.’
I think they recovered a bit as a mass medium with a wider audience with Spider-Man in the sixties, but these days, they’re too expensive and too self-reflective. When they were cheap, they were a real “peoples” medium -- much the same way the Internet may be today.
Pulse: While we’re discussing comics, how did you newest project for Shooting Star Comics come about?
SP: “Roses Bedight” was a story I originally pitched to 2000 AD -- and honestly, I couldn’t believe they didn’t like it. Not edgy enough, or some such. But it stayed in the back of my head as something I wanted to do for the longest time, so you and I met at DragonCon, it seemed a natural opportunity to tell the tale.
Pulse: How would you say the project has been influenced or inspired by other sci-fi that has gone before?
SP: It’s a commentary on the over-consumptive society -- where everything exists to satisfy some personal urge -- starring the all-consuming parent and helpless child.
Pulse: What would you say makes it different and new?
SP: Technology simply brings that to a point where people can stay children all their lives, and have no need for the responsibilities of parenthood, which many happily drop with the same heedlessness with which one cuts down the rain forest to make more cattle for fast food hamburgers. I think that sort of social commentary runs through the best of science fiction, troped, of course, with fancy gadgets and wonderfully rendered dystopian backgrounds.
Pulse: Why did you decide to release this story through Shooting Star Comics?
SP: What I’d seen of the early issues gave me a great feeling about the company, so it seemed like a no-brainer. And I’m thrilled to be working with new artist Jeziel [Martinez Sanchez]. I think his art’s terrific, perfect for the story.
Pulse: What are your plans for the characters after their appearance in Shooting Star Comics Anthology #5? Are you planning any follow-up appearances?
SP: No, not really. I think it’s a one-shot. It makes its point and then you move on, but who knows?
Pulse: What’s the difference, as you’ve seen it, between working with mainstream and independent publishers?
SP: Same old, same old. Indies give you much more freedom, the mainstream gives you much more money.
Pulse: Let’s look back for a moment at your work on the X-Files comic book. What was the most fulfilling aspect of being the writer for one of the hottest books in the world at the time?
SP: When we started, the show wasn’t hugely popular, it was just a small cult hit, so it was great to be a part of that upswell in popularity. It was overall terrific, I was writing stories I loved and cared a great deal about, AND they were terrifically popular. An incredible amount of contact with readers was, I think, the chief reward, next to the overall fame and fortune. The series gave me some terrific opportunities, including doing TV and radio interviews and having my work appear in TV Guide.
Pulse: Oh yeah, I had forgotten about the TV Guide story? How’d that one come about?
SP: I believe TV Guide actually approached Topps about the whole thing. The fun challenge was to try to tell an X-Files story in five pages -- reduce the show andcharacters into some sort of quick formula (something Chris Carter once claimed the show didn’t have.) It helped codify that formula for me:
Something strange happens.
Mulder says, “Hey, something strange happened!”
Scully says, “Did not!”
Then something else strange happens. The End.
I was pretty pleased that I was able to pull it off. That story got the single fastest approval from Fox and 1013 -- probably because it had to be so simple, by virtue of its length. TV Guide’s done comics since, but ours was the first, and I was terribly proud to have my work in front of millions of peoples. Didn’t hurt sales on the comic, either!
Pulse: What were some of the hassles of writing a book about characters that were coming from such a popular TV show?
SP: Everyone seemed to enjoy my work, except the creators of the show. As of the second issue, we were constantly butting heads. I was trying to do different things, material more appropriate to the medium, and
they were interested, naturally, more in replicating the series as much as possible. It was an increasingly painful process -- and the more popular the show became the less yielding they were. I’m happy I made it through 16 issues!
Pulse: What did you think about the X-Files movie a few years ago and the series ending? What would you have done differently had you been writing it?
SP: I think early on the X-files started a long spiral down. By the time they made the decision to keep the original back story going, without seemingly having a clue as to where it was headed, I think, aesthetically they were doomed, forced to make it more and more incoherent, leading to the mediocre film and the deeply embarrassing final episode.
Since you ask, I would have run it much the way Buffy was done in her heyday, one large arc per season, surrounded by standalone stories. Each season the arc gets resolved, and you move on. For the film, I would have done a single, great standalone mystery starring Mulder and Scully, bigger budget, bigger effects, etc., but nothing whatsoever to do with the mythos.
Pulse: If you were offered the gig again today, would you be up for it, and what would you do to make X-Files a hot comics property again?
SP: Pretty much what I’d been doing -- exploring paranormal mysteries across the globe -- the stuff that might be real -- go back to the core believer/non-believer dialect that made the characters tick, and let Scully be right more often!
Pulse: Let’s talk Moonstone and Kolchak. Some might say that your work on The Night Stalker isn’t far removed from your work on Mulder and Scully. Do you think your successful run on X-Files helped you land the Kolchak book because of their similar directions?
SP: Oh sure, in fact Topps was considering a Kolchak book as a companion to the X-Files, which I was going to write -- it just never got off the ground.
Pulse: Granted, the two are very similar, but what do you think makes the two properties different and unique?
SP: Kolchak is more noir -- focused on his narrative voice, his moralistic, Chandler-light, worldview, where he faces the monster to save the day, but gets put down by the Man because of it. The issue isn’t whether the monster is or not, but simply that it exists. The strength of the X-Files, when it was good, was in the dialogue between Mulder and Scully about what is and isn’t real -- in other words, whether the monster is or not. There’s a lot of overlap there, and I think ultimately the differences are more about which elements are more to the fore.
Pulse: What are your future plans for Kolchak?
SP: Right now I’m doing an original ten-page Kolchak story for an upcoming trade paperback collection. The plot hasn’t been approved yet, so I don’t think I should discuss it here.
Pulse: Out of all the comics work you’ve done, what have you found to be the most fulfilling?
SP: Oh, that’s tough to say, many offer different rewards and I’ve enjoyed practically all of them. My own material is always special to me; Squalor, Meta-4, Lance Barnes, The Bandy Man -- but the X-Files and Kolchak still stand as some of the best writing I’ve done, plus they’ve had wider exposure. I also write Mickey Mouse and Donald Duck comics for Egmont in Denmark, and get a terrific, but completely different, kick out of them as well.
Pulse: What’s the difference for you between working on your own concepts and working on characters that belong to other companies?
SP: When I’m working on my own stuff, editorial feedback goes directly to the quality of the story and the characterizations. With licensing, there are all sorts of other character rules and such that must be obeyed. When you’ve got great partners, either can go well -- when you don’t, either can go badly.
Pulse: After being in comics for so long, what haven’t you been able to do yet that you’d love to have the opportunity to do?
SP: Earn a steady living!
Pulse: What else should Stefan Petrucha fans be looking for in the months ahead?
SP: Lance Barnes: Post Nuke Dick, a mini-series I did for Epic in the early 90’s, has been reassembled into a trade paperback, out this June. It has an all-new cover and a new prose story starring Lance, by yours truly. Meanwhile, Director Rick Friedberg (Spy Hard) is working like the dickens to assemble a budget for a feature film. Past that, I’m currently trucking around a paranormal novel that I’m very excited about. And, of course, I can’t wait to see how “Roses Bedight” comes out!
Last up, design samples:
(a workbook, a CD insert, and an e-Learning demo)