'Contains everything you need to know to get published' Adam Kay, author of the No1 bestseller This Is Going to Hurt From a handy introduction to how the publishing world works, and how authors fit into it, to practical tips on writing your book, strategies for editing and re-writing, Tips from a Publisher is an indispensable guide for authors. Helping you create the perfect submission and telling you the truth about what happens once you get published, it is crammed full of common-sense advice, and some trade secrets, that no aspiring writer should be without. From a handy introduction to how the publishing world works, and how authors fit into it, to practical tips on writing your book, strategies for editing and re-writing, Tips from a Publisher is an indispensable guide for authors. Helping you create the perfect submission and telling you the truth about what happens once you get published, it is crammed full of common-sense advice, and some trade secrets, that no aspiring writer should be without. 'Shut up and listen to everything he has to say' – Caimh McDonnell, bestselling author of The Dublin Trilogy 'Part instruction manual, part sat nav, part friendly arm round the shoulder: this is the book every aspiring writer needs to own' – John Mitchinson, co-founder, Unbound 'A book-shaped boot camp for emerging writers… essential reading' – Judith Heneghan, director, Winchester Writers' Festival 'Scott knows the publishing industry inside-out and whenever I work with him, I know my authors are in good hands' – Charlotte Seymour, literary agent 'I wouldn't trust anyone else to give me advice, he really knows his stuff!' – Valerie Brandes, founder, Jacaranda Books 'The best editor I've ever worked with' – Ray Robinson, author of The Mating Habits of Stags
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I WONDER whether, if you had seen Lady Lucy sitting at her work that warm August morning, you would have thought her a person to be envied. She certainly looked very pretty, and not at all unhappy, as she sat in her straight-backed chair, carrying her long-waisted, snugly-laced little figure very upright, her shoulders down, and her chin drawn in,—bridled, as the phrase went. In those days—for this was at the beginning of the eighteenth century—great attention was paid to the carriage of young ladies,—more than appears to be thought necessary at the present time, to judge by the attitudes into which I often see little girls throw themselves, even in company. They were taught to sit and stand very upright, to carry their arms carefully, to turn out their toes and hold up their heads. No stooping was permitted over books or work; and while Lady Lucy was living with her aunt Bernard, she used to have a bunch of knitting-needles stuck into her bodice, to keep her from "poking" over her work.
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<p>Czy nadszedł mroczny czas dla rodziny Bies?</p> <p>Babkę Agreę zaczyna prześladować miłość. Aż trudno uwierzyć, prawda? Jak na osobę, która miała tylu mężów, uczucie to nie powinno być jej obce. Tyle że tym razem nadciąga ono zza grobu! A to już nie przelewki. Po raz kolejny zaczyna się akcja ratowania własnej skóry…</p> <p>Draga zostaje wplątana w poczynania babki. O dość niefortunnej porze razem z kolegami rozkopuje grób wisielca. Dlaczego? O to trzeba już zapytać Agreę, która potrzebuje pomocnej dłoni. Draga nie spodziewa się jednak, jakie jej czyn będzie miał konsekwencje. Tymczasem Sat przeżywa coś, czego jeszcze w życiu nie doświadczył: rodzi się w nim dziwne przeczucie na widok tajemniczego chłopaka z nowej szkoły. Czy okaże się jego nowym największym wrogiem? A może wydarzy się coś, czego obaj się nie spodziewają?</p> <p>Wilk znowu zawyje w księżycową noc. Obudzą się mroczne siły, a miłość zacznie zbierać żniwo! Niech zacznie się kolejna przygoda.</p>
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<p>Nie wywołuj… martwych zza grobu – czy nie tak brzmiało to przysłowie?</p> <p>Sat nie jest w stanie pogodzić się ze śmiercią matki i po raz kolejny wydostaje swoją niewiecznie młodą ciotkę z królestwa zmarłych. Wraz z jej przebudzeniem w chłopaku uaktywnia się moc, o której nie miał pojęcia. Nawiedzają go nie tylko duchy wspomnień, ale i pewien likantrop, który pozostawia po sobie tajemniczą szkatułkę. Czy zło przeciera sobie szlak do jego wnętrza? Jaki sekret odkryje chłopak podczas próby odnalezienia się w nowej rzeczywistości?</p> <p>Draga chciałaby z kimś porozmawiać o swojej żałobie, ale nie jest jej łatwo. Zaczyna przygotowania do urodzin, na których mają się pojawić przyjaciele z jej burzliwej przeszłości. I nie tylko. Będzie też ktoś wyjątkowy. Za to babka Agrea nie potrafi nie pakować się w kłopoty. Za swoje — co prawda małe, jak twierdzi — przewinienia zostaje wezwana do Siódmego Kręgu Piekieł i dowiaduje się, że niebezpieczeństwo, które zneutralizowała, prawdopodobnie znów zagraża jej rodzinie. Razem z wnuczką będzie musiała wyruszyć w podróż, żeby ocalić ich ród.</p> <p>Zaczyna się walka z demonami przeszłości. Czas stawić czoła kolejnym wyzwaniom i nie dać się pochłonąć złowrogiemu księżycowi!</p>
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The visual arts throughout the post-war era have made an invaluable contribution to the cultural development of modern and contemporary Scotland. Joan Eardley, Alan Davie, Eduardo Paolozzi, Ian Hamilton Finlay, Boyle Family, Craigie Aitchison, Barbara Rae John Bellany, Alexander Moffat, John McLean, Bill Scott, Joyce Cairns, Steven Campbell, Ken Currie, Lys Hansen, Alison Watt, Douglas Gordon and Kevin Harman – these are some of the artists whose work reflects the radical and complex transformations of the post-war period. These Scottish artists not only observed and absorbed the socio-economic and technological changes taking place during this era, but also devised a wide range of innovative ways to represent and creatively re-present those changes and their powerful impact on our times. Through a compilation of in-depth interviews with the artists themselves and accompanying critical essays, Bill Hare here examines the richly diverse work of these important figures in modern and contemporary visual culture, revealing the intellectual power and artistic imagination of those who have created one of the greatest eras in the history of Scottish art.
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An NPR Book of the Year At the dawn of the twentieth century, the United States was one of the world's richest, most populous, most technologically advanced nations. It was also a nation divided along numerous fault lines, with conflicting aspirations and concerns pulling it in different directions. And it was a nation unsure about the role it wanted to play in the world, if any. Americans were the beneficiaries of a global order they had no responsibility for maintaining. Many preferred to avoid being drawn into what seemed an ever more competitive, conflictual, and militarized international environment. However, many also were eager to see the United States taking a share of international responsibility, working with others to preserve peace and advance civilization. The story of American foreign policy in the first four decades of the twentieth century is about the effort to do both - "to adjust the nation to its new position without sacrificing the principles developed in the past," as one contemporary put it. This would prove a difficult task. The collapse of British naval power, combined with the rise of Germany and Japan, suddenly placed the United States in a pivotal position. American military power helped defeat Germany in the First World War, and the peace that followed was significantly shaped by a U.S. president. But Americans recoiled from their deep involvement in world affairs, and for the next two decades, they sat by as fascism and tyranny spread unchecked, ultimately causing the liberal world order to fall apart. America's resulting intervention in the Second World War marked the beginning of a new era, for the United States and for the world. Brilliant and insightful, The Ghost at the Feast shows both the perils of American withdrawal from the world and the price of international responsibility.
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Napoleon, finding his proffers of peace rejected by England with contumely and scorn, and declined by Austria, now prepared, with his wonted energy, to repel the assaults of the allies. As he sat in his cabinet at the Tuileries, the thunders of their unrelenting onset came rolling in upon his ear from all the frontiers of France...
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Once upon a time, there was an ordinary little fitness studio that was struggling to make ends meet. The owners were Franzi and Herb, who were very worried about their future. They often sat at the bar of their gym in the evening and looked at their protein drinks with empty eyes. Hopelessness was spreading. One evening, when things were looking pretty bleak again and their empty devices were staring at them, they allowed themselves a round of vodka. After the third, Franzi, who was the creative one in the relationship, suddenly had an idea: "We only ever worry about biceps and washboard abs. They are hotly courted by all the studios. But there are also smaller, very important other muscles in the body. Maybe we should just dare to train something completely new." Franzi explained to her husband in more detail what she meant. He was broad-minded and they initially decided to introduce a new 'V-training', mainly as a promotional measure and to increase popularity. They had to stand out from the competition somehow! They were aware that this area was perhaps a little slippery, but sex sells! It was also possible that they were going down a dangerous path. But they didn't want to leave any stone unturned.
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