Freelance Feast or Famine?

Sometimes a freelance writing career can feel very much like "feast or famine".

At the very beginning, it's almost all famine. You spend more time looking for freelance writing jobs than you spend actually writing, and, quite apart from being utterly demoralizing, when you have a mortgage to pay and mouths to feed, it can be absolutely terrifying, too.

Of course, once you get past those early days of struggling for work and start to build up a portfolio and a reputation, you move into the "feast" era of your freelance writing career and everything should be rosy.

The problem is however, that those early days can be hard to forget. You can't help but remember the days of living off ramen noodles while trying to get your freelance writing career off the ground, and there's no way in hell you want to go back there. Like Scarlett O'Hara you vow never to be poor or hungry again ? and so you accept every single assignment that comes your way, and end up working yourself into a greasy spot at the same time.

Rather than a feast, it starts to become a binge, and before you know where you are, you're struggling again ? albeit this time you're struggling to get the work done, rather than to find it in the first place. Your home life and health starts to suffer, and, if you're not careful, so does the quality of your work.

So what do you do?

Well, if you think you could be on the verge of a writing binge, here are a few tips:

1. Dump your toxic clients

Toxic clients are the ones who cost you more in terms of time and effort than you ever get back from them in dollars. These are the clients for whom everything is a problem: they're not happy unless they're complaining, and you end up spending more time coddling and cajoling them than you do working for them. At the start of your career, you'll probably just put up with the toxicity. Once you start to get busy, however, it's time to get rid. If a toxic client feels like more trouble than they're worth, they probably are: so dump them, and stick with the ones who actually reward your effort.

2. Look carefully at your prices

How much are you charging? Writers who are new to freelancing are often tempted to reduce their prices in order to secure work. This can work very well; once you're more established in your field, however, it can start to backfire on you, because once you have a reputation for being good and cheap, you'll end up with more work than you can reasonably handle. If this sounds like you, it may be worth considering accepting fewer projects, but charging a higher rate for them. That way the quality of your work and life remains high, and you still have the opportunity to increase your earnings.

3. Learn how to say no gracefully

Turning down work can be frightening. No matter how successful you are, when you're a freelance writer there's always going to be a little voice whispering in your ear that although you're doing well this month, next month the work could dry up. While it's never a good idea to become complacent, you do need to learn when to switch this voice off. If you're good at what you do, and you've built up a strong portfolio and network of contacts, there will be more work. Sometimes it's better to turn a project down than to take it on when you don't have time for it ? and risk your reputation by doing it badly.

4. Make friends with your competitors

Yes, really. Your fellow freelance writers don't always have to be "the competition". If there's another freelancer in your area, or in your field of expertise, why not contact them when it's busy and offer to recommend them to the clients you don't have time for, on the understanding that they do the same for you next time they're busy and you're not? This kind of reciprocal arrangement can work out very well for both parties: it means that you're not having to flat-out refuse work, for one thing, and it also gives you something of a safety net if things suddenly get slow, but your competitor's workload is more than they can handle.

Amber McNaught is a freelance writer and editor, and the owner of WritingWorld.org, an online agency for freelance writers, editors and proofreaders.

Chat about all aspects of freelance writing in the WritingWorld forum!

Amber is also co-owner of Hot Igloo Productions, a UK website design and marketing firm specialising in helping small businesses grow through the use of internet technologies and public relations.

What Not To Wear

What makes certain styles of pants so popular? One reason is fashion and the other comfort. Two examples of pants bought for comfort are tapered leg jeans or pants and Capri pants. Younger women flock low-rise jeans because they are fashionable. Both Capri pants and low-rise jeans look best on tall, slim silhouettes - how many 'real' women are tall and slim? The truth is that the majority of the female population does not have 'Barbie' figures so those styles instead of looking great actually accentuate flaws.

To look your best take your body type into consideration before choosing to wear the latest fashion. You will appear slimmer and more fashionable if you wear clothing that suits your body type. Lets look at cropped pants, low-rise jeans and high-rise tapered jeans and decide what to wear and what not to wear.

Cropped pants (pedal pushers, Capri, clam diggers) end usually somewhere in-between the knee and the ankle, What they do:

* Make you look shorter

* Make you hips look larger

* Your legs look shorter

* Your ankles thicker

However, some of these problems can be avoided depending on the style of Capri pant. Capris that are the best choice:

* Dark in color

* Plain color (no prints)

* End just below the knee

* Have tapered legs (more fitted at the bottom)

* Worn with a tiny sandal

* Without cuffs

Most young women like to wear low-rise jeans despite how ill fitting they might be. Low- rise jeans sit below the hips about 3 inches below the belly button. Low-rise jeans can:

* Make a thick waist look thicker

* Narrow hips look more narrow

* A long waist look longer

* Short legs, shorter

* Can make you look 10 lbs larger

This style (low-rise) is flattering only to those who are absolutely slim. Don't be discouraged. You can still wear jeans that look great and wear them low, but not low enough that they create bulges. Wear them:

* Not too tight

* Approximately 1 inch below the belly button.

High-rise, tapered pants fit snuggly around the waist with a leg that tapers in close to the ankle. If you own and wear high-rise tapered pants or jeans get rid of them now unless you want your:

* Hips to look wider and larger

* Tummy to look bigger

A better choice is straight or wide leg pant with a flat front.

Sheila Dicks is an Image and Wardrobe consultant who teaches women how to dress to suit their body type and look fabulous. You can reach her at http://www.sheilasfashionsense.com to download her ebook, "Image Makeovers" and get "How to Build a Wardrobe" ebook free.

Protective Symbols, Charms, and Totems

There is power in meanings of the old images and symbols. Below is a compendium of common symbols, charms and totems from antiquity that are thought to be useful against psychic aggression:

Abracabadra: One of the oldest protective amulets, this is the word Abracabadra written in a triangular form like as below for Protection:

A
AB
ABR
ABRA
ABRAC
ABRACA
ABRACAD
ABRACADA
ABRACADAB
ABRACADABR
ABRACADABRA

Or written as follows with an enemy's name on the reverse in order to diminish their power.

ABRACADABRA
ABRACADABR
ABRACADAB
ABRACADA
ABRACAD
ABRACA
ABRAC
ABRA
ABR
AB
A

This talisman is thought to protect against injustice and evil events.

Agrippa's Pentagram: A five pointed star superimposed like figure of a Male with arms and legs outstretched. It is used to increase connection with the Higher Self as well as to protect against both visible and invisible astral attackers.

Bast: This is usually represented by the image of a black cat. In ancient Eygpt, Bast or Bastet was thought to protect home and family from negative spiritual influences.

Cancer: The astrological symbol of Cancer, the Crab is thought to protect against astral attack.

Celtic Knots: These rings of circles created from interwoven bands appear in all kinds of intricate forms and designs. One of their prime functions is to protect against wicked plots, group magic, evil spirits and demons.

Celtic Cross: A crucifix within a circle,this ancient symbol is thought to protect from spiritual dangers of all kinds.

Devil's Snare/Trap: This is a circle of Hebriac writing that spirals inward in a counterclockwise direction. The idea is that evil spirits become trapped in the coil of writing. It is Assyrian in origin and thought to protect against sorcery and all evil.

The Dog: A North American Indian talisman against astral attacks. He stands at the doors of the otherworld and prevents spirits from attacking the living.

The Elk: A symbol of psychic self defense and protection, the rune of the Elk (Algiz) is worn to defend against spirits and make one brave while facing fear of the unknown.

Eye of Horus: An important protective symbol in ancient Egypt it helps protect against the evil eye.

Eye in the Triangle: This is usually a pendant featuring an eye in the center of a triangle. It is thought to repel the usual causes of the evil eye ? jealousy and envy.

The Falcon: The Falcon is a North American symbol of perception and represents the high perch of elevated spirituality. It enhances astral abilities so one is able to perceive negative energy and make it one's metaphorical prey.

Mother Gaia: This is usually the figure of a Goddess with her hands reaching in a circle above her head. She protects against disturbances to our auras and helps ground our energy

Fish: In North American Indian cultures, the fish represents a refusal to recognize the power of another's magic.

The Frog: North American symbol indicating mediumship. It is thought to cleanse and purify the aura.

Hagal: This protective rune looks like an H, represents hail and protects from all attacks and misfortunes including astral attack.

Ingwaz: This rune resembles a diamond shape and represents an egg. It is protective against the evil eye and astral attack.

Horse: A North American Indian symbol that dissolves astral blockages and cleanses the aura.

Isa: The symbol of an I that represents Ice. It is thought to increase personal shamanic powers as well as protect one from evil influences and undesirable astral forces.

Jaguar: The Mayan symbol of the jaguar is thought to protect against control freaks, evil thought forms and increase one's own shamanistic abilities.

The Lucky Hand: There are many variations of this from all cultures, but this usually features the palm of a hand facing out. In the center of the palm may be a pentagram, an eye, a gemstone or signs of the zodiac. It is thought to protect against all forms of astral invasion and attack. It is especially effective against ritual abuse.

The Griffin: Most Griffins feature the body of a lion and the head of an eagle. Some versions have wings. This mythical being, that is Grecian in origin is said to protect the psyche from dark forces.

Mannaz: This protective Rune resembles an M and represents the higher self. It protects against the cruelty of interference with one's connection to their gut instincts and God.

The Mitzu Domo: This symbol is Japanese and features three whirling swirl shapes. It is thought to protect against the impatience, greed and acceleration of time associated with astral attacks.

The Om Symbol: This ancient Sanskrit Symbol represents the syllable "om" that is used in meditation. It raises one's vibration so that the aura can not be reached by the baser energies associated with psychic aggression.

The Pentagram: Also known as the Druid's Foot, this five-sided star protects against witchcraft and the evil eye. It is thought to return bad energy back to the sender.

Pictish Knot: This Celtic symbol that features an interlocking series of triangles protect against magical rites that have gone wrong and missed their aim.

The Raven: A North American Indian and Celtic Symbol thought to protect against black magic.

Sagittarius: The astrological symbol of the Archer is thought to protect against psychic vampires and those who deplete spiritual energy.

Scorpio: The astrological symbol of Scorpio, the Scorpion is thought to protect against witchcraft, the evil eye and the kind of fanaticism associated with cults and ritual attack.

Seal of Solomon: One of the best known of protective symbols this features two interlocking triangles that form a star shape. It is used to invoke the Archangels and protect against black magick and the power of all evil.

The Sheiah Dog: This Celtic symbol, which features a dog within a circle was a guardian of the secrets of the Druid's and Metaphysicians. He protects from black magic.

The Sun: The universal symbol of the sun is warn to oppose its shadow: dark energy of all kinds. It is common to all cultures.

Suli: This is a Celtic amulet that depicts the Sun Goddess in a halo of flames. He protects against spiritual weakness.

Thor's Hammer: This symmetrical three-pronged knot protects against misfortune, the evil eye and those who would rob the spirits.

The Turtle: Helps one remain invisible to others on the astral plane.

Uruz: This Nordic Rune looks like an upside down U and represents an Ox. It helps one connect to their higher self and protects against astral attack. It is thought to help one remain grounded spiritually.

Virgo: The astrological symbol of Virgo, the Virgin, is thought to protect against cults, covens and groups that do not encourage soul freedom.

The Wolf: A Northern European and North American Indian symbol of protection against astral attack.

The Yew Tree: Increases endurance and power and is thought to protect against deception, betrayal, delusion and undesirable influences and thought forms. The rune that symbolizes the Yew Tree (Eiwaz), is worn as a protective talisman.

Samantha Steven's articles have been published in many high-standing newspapers and she has published several books. If you wish to buy Samantha's books about metaphysics click here http://www.insomniacpress.com/author.php?id=110 You can meet Samantha Stevens at http://www.psychicrealm.com where she works as a professional psychic. You can also read more of her articles at http://www.newagenotebook.com

Success Reloaded: The Matrix

So the other day I'm watching the movie The Matrix, again. For some reason I can't get enough of the great special effects.

Remember the part where is Neo (Keanu Reeves) is mentally tortured because he wants to find out what the 'matrix' is and finally meets with Morpheus (Lawrence Fishburne) who has the answer he's been seeking, " What is the Matrix?".

Morpheus makes Neo an interesting proposition. He offers Neo two pills: a red and blue one. He tells Neo that if he takes the blue pill he'll remember nothing and wake up the next morning in his bed as if nothing had ever happened. But, if he takes the red pill, the secret of the Matrix will be revealed to him.

Neo decides to take the red pill (of course, it wouldn't be much of a movie if he didn't). After taking the pill Neo finds himself in this other reality, outside the Matrix, where he is free. He realizes that he was never really a successful businessman but in reality he had been asleep; a slave to the Matrix all his life. The Matrix is the hi-tech version of a man who wakes up after dreaming he's a butterfly and wonders if in reality he's a butterfly dreaming he's a man. After taking the pill, Neo wakes up to his 'real' reality for the first time after being enslaved in the Matrix all his life.

When I go around the country speaking, I wish I could distribute such a red pill. As a motivational speaker my goal is always to awaken people from their sedated slumber, their numbness to reality. I strive to make my audience begin to think in terms of possibilities and not impossibilities. To dream beyond the social matrix of mediocrity.

Many of you hate your jobs, but everyday after work what do you do? You sit in front of the TV watching someone else's reality. What do we do on the weekend? Go watch a movie on a bigger screen. We watch the news and view alternate realities, usually worse then ours. Why do we like the news, especially when it's negative? Because it makes us feel better to know that things could be worse. Viewing someone else's misfortunes on the news somehow quiets our desperation for success and makes us feel better.

There is a blue pill most take on a daily basis called 'compromise'. Compromise comes about when you simply choose to accept your role in life no matter how menial it may be. Many of you feel that there is nothing you can do to change your life or current situation, so you give up. You settle. You settle in for the rest of your life never waking up to the reality of your potential, your possibilities.

In the end, Neo discovers when he wakes up to his real reality that he had been lied to all his life by the Matrix. All his experiences had been programmed and all his emotions had been fabricated. I want you to wake up from your zombie-like existence and believe that there is another reality, a Success Matrix where you can have it all and be happy doing what you love. You are more than what you think you are.

How do you plug into the Success Matrix? First, you begin by believing that there is another possible reality for you; a happy one at that. You then start feeding your mind books or audio on motivation, success, wealth, happiness, prosperity and so on. These items are the real 'pills' that can help you to find your way into the success matrix and begin to create an alternative reality. One where do what you love, and you love what you do. Take the pills quick!

People will say you can't, you shouldn't, don't, it's not possible. Stop listening to the programming. These naysayers are part of the bad programming filling your head and trying to keep from succeeding. Don't let it happen.

Reload success by believing in a greater reality, filling your mind with positive information and disassociating yourself from negative people. Wake up to your new reality; a new possibility for your life. Wake up before it's too late.

Victor Gonzalez, top Hispanic motivational speaker and author of "The LOGIC of Success". For more info go to: www.thelogicofsuccess.com or by email victor@thelogicofsuccess.com

The Art Of Persuasive Pitching

Media placement is an art. Practicing it often requires as much attention to approach and style as it does to the focus of your story. While it's important to know how to use creative formatting techniques that can enhance editorial reception to a story (see article, "Using Publicity As A Creative Marketing Tool") publicists can benefit from mastering some useful tips prior to approaching, by e-mail, snail mail or phone, the keepers of the media gate. Some Basic Assumptions:

* Always tell the truth. Make sure your product or service does what it says it does and your information is accurate. If a question is put to you that you do not have an answer for, indicate to the reporter you'll get back with the information. If you don't, the info will come from someone else--and not necessarily from a source that will help your organization. Never "imagine" or "fudge" an answer. Remember, candor equals credibility. If your organization has taken an action that has reaped negative consequences, counsel your client to admit the mistake (unless the client is constrained from doing so by legal counsel). Negativity can also be mitigated if you can anticipate a reporter's tough question, and frame an answer that puts the action into historical perspective; or by developing a positioning statement that lessens the harshness implied in the question. (For example, when a poisonous substance infiltrated Tylenol bottles, the company issued the statement that "we are victims too").

* Know your outlet before you call. Have you read the magazine or newspaper in advance? Have you watched the tv program? Have you listened to the radio show? With print media, do you know the specific beat of the editor or reporter you intend to make contact with? Have you read his/her stories? It's fine to cold call but don't cold call blindly (unless there really is vagueness about that person's turf).

* Attitude. There are some p.r. people whose emotional lives seem to count on an editor's acceptance; and who feel like failures when the editor says "no." "Unattachment" is the best attitude. "Unattachment" doesn't mean "detachment" or "apathy." It means coming from a centered place, with self-confidence in yourself and your ability to communicate a story effectively ? but without being attached to the outcome. You'll find this a liberating approach, one that disallows you from becoming intimidated by an editor or producer, and one that enables you to return to the same person in the future with no regrets. When an editor perceives that you are not overly emotionally invested in a story, you may actually get a better hearing. Be warm & polite, professional...and clear. See that individual as a peer and colleague. If they're brusque in the moment, they may be having a bad day. Simply ask if there's a better time to get back to them.

* That said, believe in your story and believe in yourself. The best p.r. people see themselves as resources of news and information who work with journalists to fill valuable time & print space.

* Be more empathetic than sympathetic. Being empathetic enables you to build on what was said and resond with alternate approaches. Being sympathetic means you've probably foreclosed the possibility of an alternate approach.

* Get out of the reporter's way. When you're providing a reporter, editor or producer information where the story is time-sensitive, relay the information and get out of the way. There's a time for pitching an idea, and there's a time for simply relaying information. In the case of the latter, act like an editorial assistant. Do your job and get out. You'll earn the journalist's respect when you do so.

* Don't waste their time. When you call, communicate in sharp and crystallized fashion, the essence of the story. Keep it brief, respect deadlines and ask in advance if the moment is ok for that editor/ producer. NEVER call when you know an editor is under deadline pressure. Keep your message on-point and as brief as possible, but craft it in a compelling and creative way that will earn attention.

* Personalize. I've seen too many impersonal, photocopied pitch letters, whether via e-mail or snail mail. If you send something in advance to a call, or as a follow-up to a call, personalize. Don't be overly chummy (unless you've been on good terms with that journalist for a long time). But keep sensitive to the fact that you're a human being, and you're communicating with a human being. For e-mails, craft a provocative phrase in the "subject" area. Too many e-mail messages get unread without a compelling lead.

* Listen to the editor. It's as important to listen as it is to talk. Be sensitive to any verbal feedback, cues or clues that can assist you in fine-tuning your pitch. Keep your antennae fully extended.

* Respect the 'no' and be prepared for it. Ask quick, important questions: What is it about this story that doesn't seem right for you? Is there anyone else for whom this story might work better? Suggest how the story can be adapted to the outlet's needs. Best of all, suggest three to five different angles in advance. This reduces chances for rejection.

* But when you get your final no, let it go and release it. YOU haven't been rejected, just your story. And if you've handled the approach professionally and cordially, you'll always be able to come back with another story at another time. Regard your list of cultivated contacts as resources and investments for the long-haul, not for quick fix purposes.

* Occasionally, pass along an item of interest that lies outside your own sphere of self-interest. Be someone who's not always out to get something. Also, supply your most important contacts with your home phone number.

* Get out from behind your desk. The better you get to know the journalist on a one-to-one basis, the better your chance of a receptive ear.

* Getting beyond voice mail. Leave a succinct, provocative, targeted message. If you don't hear from them in two days, try calling early, or leave a message with an editorial assistant or colleague. Call back that other person to learn if your message was received and if there's a return message. Sometimes, you can ask the switchboard for the department that person works in, rather than a specific voice mail.

Remember that an editor or producer is buying you as well as your story. The bottom line is trust. It's up to you to earn it.

Mike Schwager is President of Worldlink Media Consultants, Inc., based in Ft. Lauderdale, Florida. He is an accomplished veteran of media interview training, and has conducted successful trainings for scores of CEO's and other senior executives, politicians, celebrities and authors. Website: www.mediamavens.com. E-mail: michael@mediamavens.com.

Why Consistency Is The Key To Raising Well-behaved Kids

Being consistent when children are less than perfect can make you feel dreadful. However consistency is one of the most important elements in the relationship with your children, but it is the one most frequently overlooked.

Consistency means dealing with the little misbehaviours and not letting them grow into bigger behaviours. It means saying no to children's constant requests for five more minutes of television at night or a third serve of ice cream. It means following through and allowing children to experience a consequence when they misbehave every time. It doesn't mean if children arrive home after dark from a friend's place you ground them sometimes but at other times you just voice your disapproval. That type of inconsistency makes you responsible for children's misbehaviour and teaches children nothing about accountability.

Consistency also means that both parents have a similar approach to behaviours. If mum is too strict and dad is too lenient children will know who to go to if they wish to take advantage. They will soon play one parent off against each other. If a child wants to get away without doing a job or stay an extra hour at a friend's place just ask dad because he is easy-going. Even if you are separated, talk about your approaches to discipline and find some common ground. Agree on such issues as family rules, pocket money, and guidelines for going out and suitable consequences for misbehaviour.

If you disagree with a partner's approach do so behind closed doors. When unplanned situations occur don't be afraid to tell your children that you need to consult with your partner before making a decision. Children will realise that you are working as a team and that you are making a considered approach to their behaviour or request.

Consistency, like routines, are often sacrificed by busy working parents and put in the 'too hard basket'. When we are tired, stretched and overworked the last thing we want to do is engage in a battle with children over what are sometimes petty issues. You may have spent the whole day dealing with difficult customers or colleagues only to come home and find that you have another battle on your hands with equally belligerent children. So to avoid an argument, a tantrum or tears you give in to your child's unruly behaviour or unreasonable request.

But giving in rather than being consistent and holding your ground is a smart long-term strategy. Kids learn quickly how far they can push a parent before they give in. If you give in occasionally they will learn that if they push you hard enough and long enough you will cave in. So consistency is about being strong and holding your ground. That is hard work because the average child will push parental boundaries about 30per cent of the time and more difficult kids push your boundaries twice that much. It is hard work being consistent but good parenting demands it.

A comprehensive strategy to help you effectively manage children's behaviour is available in Michael Grose's landmark parenting book - One Step Ahead. It is available at the shop at www.parentingideas.com.au.

Michael Grose is Australia's leading parenting educator. He is the author of six books and gives over 100 presentations a year and appears regularly on television, radio and in print.

For further ideas to help you raise happy children and resilient teenagers visit http://www.parentingideas.com.au . While you are there subscribe to Happy Kids newsletter and receive a free report Seven ways to beat sibling rivalry.

Benign Tumors Of The Cervix

Endocervical polyps

Endocervical polyps are the most common benign neoplasms of the cervix. Please note that the word neoplasm refers to a cancerous growth. They are focal hyperplastic (abnormal cell growth) protrusions of the endocervical folds, including the epithelium and substantia propria. They are most common in the fourth to sixth decades of life and usually are asymptomatic but may cause profuse leukorrhea or postcoital spotting. (blood after orgasm)

Grossly, they appear as typical polypoid structures protruding from the cervical os. At times, endometrial polyps protrude through the cervical os. They cannot be distinguished from endocervical polyps by gross appearance. Microscopically, a variety of histologic patterns are observed, including (1) typical endocervical mucosal (2) inflammatory (granulation tissue) (3) fibrous (4) vascular (5) pseudodecidual (6) mixed endocervical and endometrial (7) pseudosarcomatous.

Treatment is removal, which can usually be accomplished by twisting the polyp with a dressing forceps if the pedicle is slender. Smaller polyps may be removed with punch biopsy forceps. Polyps with a thick stalk may require surgical removal.

Microglandular hyperplasia Microglandular hyperplasia refers to a clinically polypoid growth measuring 1-2 cm. It occurs most often in women who are on oral contraceptive therapy or Depo-Provera and in pregnant or postpartum women. It reflects the influence of progesterone. Microscopically, it consists of tightly packed glandular or tubular units, which vary in size, lined by a flattened-to-cuboidal epithelium with eosinophilic granular cytoplasm containing small quantities of mucin. Nuclei are uniform, and mitotic figures are rare. Squamous metaplasia and reserve cell hyperplasia are common. An atypical form of hyperplasia can be mistaken for clear cell carcinoma. Unlike clear cell carcinoma, it lacks stromal invasion, has scant mitotic activity, and lacks intracellular glycogen

Squamous papilloma Squamous papilloma is a benign solid tumor typically located on the ectocervix. It arises most commonly as a result of inflammation or trauma. Grossly, the tumors are usually small, measuring 2-5 mm in diameter. Microscopically, the surface epithelium may show acanthosis, parakeratosis, and hyperkeratosis. The stroma has increased vascularity and a chronic inflammatory infiltrate. Treatment is removal. The squamous papilloma resembles a typical condyloma acuminatum but lacks the koilocytes microscopically.

Smooth muscle tumors (leiomyomas) These benign neoplasms may originate in the cervix and account for approximately 8% of all uterine smooth muscle tumors. They are similar to tumors in the fundus. When located in the cervix, they usually are small, ie, 5-10 mm in diameter. Symptoms depend on size and location. Microscopically, leiomyomas resemble the typical smooth muscle tumor found in the uterine corpus. Treatment is required only for those patients who are symptomatic. The cervical leiomyoma is usually part of the spectrum of uterine smooth muscle tumors.

Mesonephric duct remnants When present, mesonephric duct remnants are typically located at the 3-o'clock and the 9-o'clock positions, deep within the cervical stroma. They usually are incidental findings and are present in approximately 15-20% of serially sectioned cervices. As the name implies, mesonephric duct remnants are vestiges of the mesonephric or Wolffian duct. Usually, they are only a few millimeters in diameter and seldom are grossly visible. Microscopically, they consist of a proliferation of small round tubules lined by epithelium that is cuboidal to low columnar. The tubules tend to cluster around a central duct. The cells lining the tubules contain no glycogen or mucin, but the center of the tubule may contain a pink material that contains glycogen or mucin.

Endometriosis When present in the cervix, endometriosis is usually an incidental finding. Grossly, it may appear as a bluish-red or bluish-black lesion, typically 1-3 mm in diameter. Microscopically, the implants are typical endometriosis, consisting of endometrial glands, endometrial stroma, and hemosiderin-laden macrophages. The implants usually gain access to the cervix during childbirth or previous surgery.

Papillary adenofibroma This neoplasm is uncommon. Grossly, it appears as a polypoid structure. Microscopically, the neoplasm contains branching clefts and papillary excrescences lined by mucinous epithelium with foci of squamous metaplasia. A compact, cellular, fibrous tissue composed of spindle-shaped and stellate fibroblasts supports the epithelium. The stroma is devoid of smooth muscle, and mitoses are rare. Similar growths occur in the endometrium and the fallopian tubes.

Heterologous tissue Heterologous tissue includes cartilage, glia, and skin with appendages. This type of tumor rarely occurs in the cervix. While they may arise de novo, these tumors probably represent implants of fetal tissue from a previous aborted pregnancy. Hemangiomas Hemangiomas in the cervix are rare in occurence and are similar to those found elsewhere in the body.

Gregory Mburu us a medical professional and a part time marketr. He post information about breast cancer and other gynaecological neoplastic disorders at http://breast-cancer-information.blogspot.com/