Small Business Forms

Written by Kathleen Gagne
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There is almost never any point to reinventing the wheel, and this applies to small business forms as well. Right now, you have so many existing options when it comes to these forms that you should almost never need to create one of your own. Many of the small business forms that drive the record keeping process of a small business lend themselves to ease of use and can even contribute to establishing efficient processes.

Small Business Forms Packages

You can hunt through bookstores for sets of such documents, or you can find them online within minutes. Some of these packages are actually included in small business start-up guides with complete instructions as to where and how to use them. Many can be downloaded and then customized with your letterhead (once you have one).

Having the right forms is critical when you are operating the business by yourself and becomes even more important when you hire that first employee and have to explain how to use the forms you have. Quite simply, if you are marketing a product, you should begin with inventory forms and a plan for tracking purchases and sales. Next, you should have a plan for tracking customers and sales.

It's good to know that there are forms you can use without having to develop them yourself. Some of the guides will even provide you with information about computer programs that you can use to easily document your business dealings. You can also find small business forms packages that contain sales and contract forms that you can duplicate. Once you find quality forms that allow you or your employees to conduct your business efficiently, you'll be on your way.

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Tennessee Williams' talents seem to peak in the 1950s and 1960s; his work of the 1970s met with ever ircenasing critical and audience disinterest. Created three years before his death, the 1980 CLOTHES FOR A SUMMER HOTEL was indicative of his later failures: a large cast, technically complex show that left even hardcore Williams fans yawning in the aisles. August Strindberg (1849-1912) is Sweden's greatest playwright, and he exerted a powerful influence over such 20th Century dramatists as Eugene O'Neil, Arthur Miller, Edward Albee, and Tennessee Williams. Toward the end of his life, Strindberg wrote several dramas that he described as ghost plays plays that abandoned linear narrative for the surreal logic of dreams. It is a notion that Williams uses for much for CLOTHES OF A SUMMER HOTEL, but while Williams was noted for his poetic and often dreamy style, this wholesale dreamscape does not come naturally to him, and the result is both awkward and tiresome. The play itself focuses on the legendary mis-match of novelist F. Scott Fitzgerald and his ircenasingly insane wife Zelda Sayer Fitzgerald. The marriage was disastrous for both. Scott based many of his characters on Zelda; she in turn began to write; and the two began to compete over which had the write to use her life as material. By all accounts Zelda had a unique way with words, but while her writings are riddled with poetic turns of phrase, the gift did not translate into anything that approached sustained narrative. Nonetheless, there has always been an underground notion that Fitzgerald suffocated Zelda's creativity and that this drove her to madness. The play opens very much in ghost play mode, with Fitzgerald, now near the end of his life and suffering from heart problems, visiting Zelda at her North Carolina sanitarium. The characters find it difficult to articulate themselves, and their difficulties are furthered by a wind that tends to sweep their words away unless they shout. After a point, the play seques into the past to present a largely linear narrative of Zelda's infamous affair with a French aviator in the 1920s; along the way it also presents, with occasional ghost play embellishments, a few of the more famous individuals in the Fitzgerald social circle, including Gerald and Sara Murphy, Mrs. Patrick Campbell, and most notably Ernest Hemmingway. In the process of this narrative, Williams not only presents Zelda's affair, he refurnishes the rumor that Fitzgerald and Hemmingway were homosexuals who were unable to cope with that fact and who ultimately despised each other because their meetings made them aware of this fact. Toward the end of the play, Williams returns to ghost play mode: the characters are once again seen at the asylum, once again unable to communicate in any meaningful way, and the play itself ends in stalemate without emotional resolution of any kind beyond the certainty that Scott will soon be dead of heart failure and that Zelda will eventually die in a fire that swept through the facility years after Fitzgerald's death. Although it has a few moments here and there, CLOTHES FOR A SUMMER HOTEL does not hang together in any overall sense. It is easy to see how Williams was drawn to the subject of the Fitzgeralds he often depicted women driven to the extreme edges of life but he fails to find either factual or artistic truth in his portraits, which are at best superficial. Unless you are determined to read every single thing Williams ever wrote, this is one title you can skip over. GFT, Amazon Reviewer