Language Arts Books

This magical book is an absolute MUST HAVE for anyone who has ever been fascinated by unicorns. The illustrations are so incredibly beautiful and the text is just a sheer fountain of knowledge on this mystical creature. I LOVED THIS BOOK. I was able to find a used copy through Amazon. Hunt down a copy, ready it, cherish it and don't lend it to anybody (because you will not get it back)!!!

This is perhaps on of the most compelling books about unicorns ever penned. Each page is filled with colorful illustrations and manuscript reproductions. I was luck enough to recieve this book new on my ninth birthday and to find the sequel while passing through North Carolina. If you enjoy mythology and unicorn lore I strongly advise this book. You will not be able to stop pondering the mystery of the true horn, I also believe the horn lies in the rocky mountains, at the very least I am sure it resides in the new world.

Defanitly one of the best books That I have ever had the pleasure of inturpretting.Filled with Images of visual mastery, yet, langauge as vibrant as the origanal Unicorn Manuscript itself. Personaly, I beleve that the Prophecy states the horn is hidden some where in the rocky mountains. If at any point in time, you have any possibility of receving Unicornis: on the History and Truth of the Unicorn, I suggest you take the Oppertunity.
Chris Snead

It is said that horses with 'whorls' on their forheads are really of unicorn descent. Horses with white spots on each side of their 'withers' are of pegusus descent. I was blessed with a unicorn/pure bred arabian. This book is a MUST for all those that are in search of the truth. Unicorns ARE with us today. Read the evidence within this fabulous transcript. They are one of God's hidden treasures. Only those that BELIEVE will know them. I agree with one of the previous people that have made a review on this transcript. DO NOT lend it out, once you have obtained it. You will NEVER get it back!

Unicornis is a mind-blowing book, I first read it when I was in the 9th grade, in 1991. I borrowed it from my local Library, and since returning it, I have never been able to find it since. It is a beautifully written book, with luscious illustrations and captures uniquely that delicious sense of majik and mystery. I wrote down the poem from the book, and had memorised it, so for the past nine years I have been able to recite it and hope that I may find this book again someday. Well worth the effort of searching for, trust me on this!

As a voice teacher for many years, I am always being complimented on my speaking voice. Arthur Lessac's book was not my speaking coach, my operatic training was - but the technique is the same. Lessac has done a masterful job explaining the "old" Italian, bel canto/good singing technique that's been around since the 1600's - but he's done it for the speaking voice. Singers need to use the same technique for both speaking and singing, and this is the best book I've found on speaking technique.

Now everyone can understand logically how to improve their speaking and singing voice, and perhaps operatic voices will be better understood as not being something elitist or unnatural. Using the power of your instrument to produce quality sound is amazingly natural - it ain't magic. The "magic" is being given the vocal chords of an angel, inspiration from God, the constitution of a horse, the luck of (all) the Irish, and the intelligence of an Einstein to develop that voice into a Pavarotti, a Sutherland, etc.

If you get just one book on voice development, it certainly should be this one. As a phonetics teacher, I don't agree with every single detail in the book. But as someone who has taught English pronunciation and oral skills to ESL learners for decades, and also as a radio broadcaster, I feel a strong resonance with Lessac's approach. Differing in the details doesn't really matter, since the core of Lessac training is heightened sensitivity and slightly understated but focused control rather than specifics.

Lessac uses orchestral instruments as analogies to teach better articulation of each English consonant, e.g. the "N-violin" and the "T-snare drum drumbeat". Though impressionistic in approach, it does helps the student have an optimal quality in mind to aim for, and to pay closer attention to each internal physical event and the effect it produces.

Lessac has a fondness for coining his own jargon, like "NRG" ('energy'), "esthetic" (not "aesthetic"; 'anything that promotes sensitivity and induces awareness of sensation and perception in the body'), "kinesensic" ('intrinsic "self-to-self" sensation'), and of course the famous "Y-Buzz". The new terms are however well justified, since each figures importantly in the framework he teaches. The glossary in the back of the book can help keep everything straight. I also flipped to the index several times when trying to sort out the differences between terms like "tonal NRG" and "structural NRG" in the context of the book.

This is a solid course book, not casual reading, so take the chapters one at a time, mindfully, to reap maximum benefit from the book.

This edition is attractive and carefully edited; I found not a single typo in the whole book. My one criticism is the price. The outstanding content makes it definitely worth the cover price, but I don't see why a paperback needs to be so expensive. Like with Peter Ladefoged's A Course in Phonetics (with CD-ROM), I guess it is because it is a popular university textbook that commands a captive audience. About a third of the cover price would bring it more in line with similar editions. But that's not the author's fault, I assume, and doesn't merit taking off a star. And speaking of Ladefoged's book, it would be helpful to readers if this book included a CD-ROM as well.

This is probably the best technique out there for freeing and developing a strong vocal instrument for speech and singing. This is the only voice text (and I've read and studied them all: Linklater, Skinner, Berry, Rosenburgh)which gives a spicific structural breakdown for the production of healthy and tonal sound. Most other texts are just exercises, but Lessac's System gives exact physical placement for each vowel, consonant, and dipthong sound as well as extensive tonal work. Especially good for the dancer due to the strong physical emphasis of placement of the tongue, lips, jaw etc. His work on Consonant action is quite inovative, drawing on the actors imagination and assining each consonant sound to an instrument in the orchestra, thereby allowing the actor to more quickly understand the musical quality of speech. Here is a basic overview of what is covered in the text; anatomy of the vocal instrument, the alignment of the body and the economical use of muscular effort to produce sound, the use of optimum pitch to discover and develop the presence of tonality and broaden pitch and range, the use of melody and the onomatopoetic nature of language to communicate ideas, and the application of these skills to a text.

This is everything anybody (actors, speakers and liars) will ever need to know about discovering, developing and using with confidence the voice as a tool to communicate. Westerners especially, I believe, have trained and maimed their voices to suit ideals (The average woman speaks about 6 tones higher than her natural voice prescribes). This book, a trusted training manual in many theatre and opera schools, teaches practically and without pretence, the real abilities of the voice. This is all one needs to acquire/rediscover, with practise, how the voice can be an (extemely flexible) extension of oneself in a physical world. A wholistic adventure which necessarilly encompasses correct breathing and posture, which will eventually be effortless, simply because it is natural. From an acting perspective the Arthur Lessac voice system becomes a perfect partner to the Stanislavskyan system of acting (associated with 'The Method' in USA). The practice of the Lessac system can easily be taught to a child and has proven successful in overcoming a stutter. This probably because the learner is made aware of the manoeuvre-ability of sound and how it is created, and not only on voice as a carrier of language. The book contains many excercises, each making one discover and realise the immense power of (self-generated) sound. Living in Africa one often wonders at the vocal powers of its people. Westerners can also feel at one with their true voices. The Lessac system would be the first (and last) step on the route to rediscovery. This is a popular book (I had two copies stolen from me when it was out of print) amongst performers and all those who believe their bodies are instruments.

I first became acquainted with Arthur Lessac's work in the 1970's when I was in Graduate School. Since then, his Approach to Voice and Body Training has been the mainstay of my professional and personal life. His new book (the third version) has been written in such a way that complements the older version, yet takes us on a training journey that is wholistically and organically fresh and new. I enjoy teaching from this book, and my students enjoy learning from it!
--Nancy Krebs, Lessac Master Teacher

I was a little skeptical buying yet another Spanish usage book. I already have an entire bookcase full of Spanish material. But when it arrived, I realized that it was amazingly well put together and a really valuable tool. My favorite section is the one where they break down all of the applications of various verbs and show the wide manner of meanings possible and common verb combinations used. There is also a really great section with Nouns that gives the subtle distinctions between noun variations (i.e., just a chaqueta vs. all the various types of coats). I can't wait to really dig into this thing. Well laid out, easy to read and to grasp. Really a wonderful reference.

I have found the book an excellent help and enjoy using it - one of the best. Now and then there are still more interpretation or applications of a word lacking - but it is very comprehensive and thoroughly compiled.

This book was an amazing tool in my study of Spanish. It is not a traditional grammar, but it is still amazingly quick, succint, and too-the-point. It is technical book, in the sense that it doesn't waste time or space with those corny dialogues and phrases that seem to abound in beginner books. Instead, this book fills a critical gap: what you need to know about the structure and syntax of the language in order to go from low-intermediate speaker to advanced fluency. Most intermediate-advanced books resemble "readers", this book is the opposite. There is a wealth of information on false cognates, "registers" (ways of speaking according to the situation), and - my favorite - the right prepositions to use after nouns and verbs, a constant source of errors for non-native speakers who have trouble grasping how "pensar en" means "to think about". This book was just what I needed to move from intermediate foreign Spanish speaker to a fluent speaker. It is especially accessible and meaningful for language learners who - like me - actually find "grammar" to be one of the exciting and valuable parts of language learning.

Having English as my first language I have appreciated the virtues of this book for a number of years. It is well organized with clear explanations and many examples. One of the features I value highly is the classification of words and expressions by their "register", meaning the social context in which the usage occurs. Anything from obscene to formal and legalistic. You will need a year or two of Spanish before the book can be useful.

Excellent book for serious students of Spanish and treats the language at some depth. Includes usages from both Spain and Latin America in various registers. Words and and phrases appropriate for informal and more formal usage. Quibble in that the book has come apart with fairly light and careful use.

In the year 2000 there were approximately 400 million native speakers of English in the world. If we add about 100 million people who speak English as a second language, it can be seen that English has become the international language of communication. For this reason, there are millions of people studying English.
Although, the book Vocabulary for the College Bound Students, is written primarily for native English speakers, also those who would like to level their English to that of an educated native speaker will highly benefit from it.
Vocabulary for the College Bound Students deals with SAT and GRE vocabulary. This type of vocabulary is not listed in alphbetical order, but it is grouped in themes which makes it easy to remember. In addition to it, the book also provides variety of different vocabulary excercises for retaining the vocabulary. As I indicated above, the book is an excellent aid for native speakers and for English students. Simply for those who seek to understand articles in Time, Newsweek, The Economist and other sophisticated readings.

I use it for school because we need it lol yeah. With out it i would be failing. The homework are pretty easy too.

As a student studying this book, the advanced vocabulary within it contains valuable information in order to succeed on achievement tests, essays, and even daily spoken language. I proudly say that this book has changed how I think, read, and feel these words. The format of this book is very laudable (I got that from the book!). Hopefully others will increase there vocabulary for the sake of knowledge and understading.

I remembered having this book in High School. Even then I recognized it's value in helping to build a large vocabulary. None of the other vocbulary books even come close. Words are grouped by type, such as words related to "sobriety". Words are also split into groups with either Latin or Greek roots. No other book does this.
I have searched in vain for a resource to buy this book for my own children until finally ordering it from Amazon. Buy this book for your High School student BEFORE he or she takes the SAT. Thanks Amazon.com for being such a great source of hard-to-find books!

I can't tell you how much I value this book. I first used it in 6th grade -- over 30 years ago! -- and managed to hold on to my copy. This book's value has actually improved with time. Schools do not teach vocabulary the same way this book does, much to their shame. Instead they teach students to learn long lists of unrelated words, making it harder for them to truly build a vocabulary. The order of this book is much more natural and really helps students learn to understand and appreciate words. I have been using it with my kids, hoping they'll have the same success with it that I had.

The Wand in the Word is a wonderful compilation of interviews with some of the major voices in fantasy literature today. Leonard Marcus begins his introduction by telling us that fantasy writers have not enjoyed the spotlight until recently. This is surprising because fantasy has been in existence for a very long time, not the least of which was Alice's Adventures in Wonderland published in 1865. It is only in more recent years that the Fantasy genre has enjoyed greater popularity and acceptance. Marcus has provided a high interest book that will capture the attention of readers with his one on one interviews with Nancy Farmer, Brian Jacques and Diana Wynne Jones to name a few. Marcus himself conducted all of the interviews included in the book, either in person or over the phone. He includes some access features such as a table of contents, index and most importantly a bibliography for each author he interviews. Of special interest are the pictures of the authors and often a picture of a manuscript page from the author with editing marks and corrections. This allows the reader to see into the author's real life and work process.

Marcus begins each section with a short profile of the author he will be interviewing. This is especially helpful because you may not be familiar with the author, their work or details about them. From this he progresses into the interview. Each interview begins with the question, "What kind of child were you?" From this answer he builds upon their experiences to show how it may have influenced their writing, opinions and ideas. He also asks many of the authors if they took advantage of the public library or if they had other readers or writers in their lives. This is an important way to show our younger readers how to be open to new experiences and that reading and writing can go hand in hand. He also uses the questions he asks about how the author works to illustrate that writing is a full time job, not just something that these people play at doing.

The interesting thing about all of the writers included is that they all describe themselves as a type of dreamer. It doesn't matter the type of child that they were, they all dreamed and used these as some means of escape. Good writers can accomplish this feat and all almost without the reader being aware of what has happened until they surface from the book. The authors profiled in this book strive to do just that and based on the popularity of their books, they have succeeded quite well. The Wand in the Word would be a good addition to any library as a resource for author information, to do an author feature or just to illustrate to readers where their favorite books come from.

In THE WAND IN THE WORD, Leonard Marcus, a respected children's book historian, biographer and critic, has compiled a series of interviews with thirteen well-known fantasy writers, ranging from old favorites, Madeleine L'Engle and Ursula Le Guin, to more recent authors, such as Franny Billingsley and Garth Nix. Marcus' interviews capture what fantasy means to each author, as well as important life and work experiences, writing routines, and how book and character ideas develop. The basic interviews follow the same pattern, beginning with the question, "What kind of kid were you?" and concluding with "What is the best part of being a writer?"; however, questions in between vary and often deal with specific themes, works, or experiences of the interviewee that reflect their individuality. As Marcus mentions in his introduction, "a good interview, like any good conversation, is exploratory in nature, with much of the fun and satisfaction stemming from not knowing just where the talk will take you" (page3), and it is this quality which makes The Wand in the Word an enjoyable reading experience for the average person as well as the die-hard fantasy fan.
By following the same format for each interview, Marcus allows readers to discover that in order to be a writer, a person must read a lot, write frequently and about topics that interest them, and, most importantly, persevere! There is nothing other-worldly about these successful writers. Each is dedicated to writing and enjoys the fact that "while fame may be fleeting. . . writing is always there" (Jacques page 74). THE WAND IN THE WORD is easy to read, insightful, and entertaining, providing a glimpse in to the lives and minds of well-known fantasy writers. This book can be used as a springboard to learn more about these authors, to investigate other writers of interest, and to discover and practice various writing strategies. The one weakness is that not enough authors are included! Perhaps, Leonard Marcus will treat readers to additional interviews soon. In the meantime, readers can take the advice presented in the book and read, read, read.

If you are a reader of fantasy, an aspiring writer, or simply an avid book-lover, don't miss this book! The Wand in the Word gives you insights on 13 different authors and their lives and work routines, including Brian Jacques, Diana Wynne Jones, Susan Cooper and Lloyd Alexander. The authors tell how World War II, reading The Lord of the Rings for the first time, or listening to their grandparents tell stories affected the different authors and their careers in different ways. One of my favorite quotes from the book comes from the interview with Brian Jacques:


"I love it [writing] that as a writer you work with the poetry and music of words. Words are as wild as rocky peaks. They're as smooth as a millpond and as sunny as a day in a meadow. Words are beautiful things. Every word matters."


The Wand in the Word is a must for everyone's library. Highly recommended! (And I absolutely love the title . . . perfect for a book about writers of fantasy.)

I was into Leonard S. Marcus before it was cool. Really! Okay, fine. I wasn't. In fact, until I read his collection of the letters of Ursula Nordstrom ("Dear Genius") and heard about his Margaret Wise Brown bio ("Margaret Wise Brown: Awakened By the Moon") I didn't know just what a great editor and writer he could be. But now that he's come out with "The Wand In the Word: Conversations With Writers of Fantasy", I have a feeling his star is going to rise pretty high. Anyone could write a book with an interview by Jane Yolen. You might even be able to squeeze out some interest if you included a talk with Garth Nix. But a glance at the people included in this book and it begins to get a little silly. Lloyd Alexander? He's still alive? And Nancy Farmer? How did he get her? Susan Cooper!! Omigod I LOVE Susan Cooper! There are only thirteen fantasy writers contained in this volume, but with the notable exception of J.K. Rowling, they are undoubtedly the greatest living fantasy writers working today.

Most of the interviews were done in-person or over the phone. Two were done via e-mail as well. It's a testament to Marcus's skills (and the verbal gymnastics of his subjects) that the casual reader is unable to distinguish between the live and written. In fact, the eloquence of each of these fantasy writers is the most startling similarity they have between one another. The interviews are presented in alphabetical order with Lloyd Alexander first and Jane Yolen last. In between, Marcus includes photographs of each author's early drafts, pictures of them as children, and the occasional shot of what their workspace looks like. Who knew they even made Terry Pratchett figurines? Marcus asks a sets number of questions of each author. What did they read as children? How did World War II affect them? What becomes clear as you read through the book is that the greatest influence this crew ever had was Tolkien. In fact, they have very different opinions on the man. Susan Cooper found his lectures "wonderful" whereas Diana Wynne Jones (who you come to trust in this matter) found them "absolutely appalling". Philip Pullman even had dinner with him, though again the great man does not come across as particularly appealing. Each author mentions what they advise up and coming writers, who their inspirations have been, and what their lives were like. All in all, it makes for a truly stunning series of interviews.

Being the twisted soul that I am, I was most interested in the authors that were prone to saying particularly odd things. If I got to sit down and have dinner with four fantasy authors based solely on their interviews, I think my choices would have to be Nancy Farmer, Diana Wynne Jones, Brian Jacques (a surprise for me), and Terry Pratchett. Perhaps Philip Pullman too, but we'd have to keep the conversation well away from touching on C.S. Lewis. After a while you do feel like quizzing your other fantasy loving friends. "Did you know that Nancy Farmer worked in the lab of a mad scientist, "felt like a fruit fly pimp", and was a holy terror in school? Did you know that "A Wrinkle In Time" was turned down twenty-six times by different publishers? Or that Tamora Pierce has "twenty-two baby name books, plus three URLs for baby name databases, plus a CD-ROM"? It's all true. It's all here.

I suspect that some well-meaning kids will complain about the people not included in this book. Where's Cornelia Funke? Or Christopher Paolini? I, personally, was very very happy at these exclusions. Obviously I would have liked Rowling to have been included but what could she say that she hasn't already mentioned in the roughly five billions interviews she's done worldwide? Less explicable is the fact that Anne McCaffrey isn't mentioned. A quick check of a "Dead Or Alive" website confirms her status of "Alive", so what gives? And what about Robin McKinley? That said, the list Marcus has already come up with is pretty close to perfect. You could argue that Billingsley hasn't done enough to gain a spot with this crew (and Yolen, perhaps, too much) but that's neither here nor there.

Sometimes when I finish a particularly good book (for example, "Fly By Night" by Frances Hardinge), I feel depressed. Like so many other people out there, I'd like to be a writer but I get intimidated by really really good authors already in existence. "The Wand In the Word" had the opposite effect on me. These are the best authors of their field and their advice and enthusiasm is easy to catch. I dare say budding fantasy novelists everywhere will be able to take a page out of Marcus's newest book and create their own entirely new little worlds. It's a wonderful collection and a necessary purchase for anyone who considers themselves a serious fantasy fan.

This is one of the most interesting and inspirational books that I've read in a long time. Through the interviews and profiles, Marcus' masterfully brings out the best in each author, providing a fascinating look at some of the leading authors in the fantasy genre. Find out how Lloyd Alexander's experiences in the military during World War II influenced his writing, or how Diana Wynne Jones kept Tolkein from finishing The Lord of the Rings! It's inspiring to read about how authors are regular people who faced the same kinds of problems in childhood as everyone else: problems in school, problems with parents, problems with other kids. One even had dyslexia. Taken together it presents a powerful and inspirational message that anyone can be a writer, that anyone can overcome their personal obstacles to achieve their dreams. Each author also gives advice for young, aspiring writers. Highly recommended for fantasy fans, aspiring writers, or anyone who just needs a bit of inspiration.

WAR TORN is a brilliant and riveting collection of essays by the handful of smart and courageous women who actually went to the battlefields in Asia to report on the Vietnamese War. For everyone who served in the war or had loved ones who did, for those of us who lived through these events at home, and for younger readers who have no sense of this history, this compelling book reveals these critical years from a perspective most of us never knew existed. The stories of these nine brave women will capture your minds and break your heart a bit. A thorougly uplifting and informative book with stories you've never heard before.

A unique insight to the ravages of the wars of the mid 20th century from the viewpointss of a group of female corrrespondents who had to claw their way through the jungles
of the eastern asia and the media industry to get their views
across....highly recommended to gain an added persective of a
turbulant time in world history

I don't know much about Vietnam, but I was drawn to the book by the sad and thoughtful face on the cover. My highest praise to these women. They brought the Vietnam war alive to someone who was not even born at its conclusion. The stories are beautiful, sad, funny and touching. My thanks to the authors for putting such a wonderful piece of writing and important part of history down on paper.

The stories in War Torn are riveting and capture the will and determination of women journalists to have equal access to cover the war. But they also bring Saigon and Vietnam in the 60s and 70 alive to anyone too young to remember. I applaud these women for making the Vietnam war accessible to a generation who grew up after the war.
War Torn leave the reader happy and sad but thoroughly enchanted. For anyone who is a history buff, a traveler planning to visit Vietnam or simply a lover of great tales, I highly recommend this book.

" Having been born in the early forties, Vietnam was MY war. Unlike the women of WAR TORN, I busied myself with raising a family in the good, old, safe & sound USA. I cannot say enough about the impact this book had on me. These selfless, courageous, determined correspondents took me on a tour of a Vietnam that I never knew existed. Reading WAR TORN was truly an educational, eye-opening experience for me. They way these women express their adventures, insights, and emotions is absolutely glorious. This is a must read for people of all ages."

In her newest book, Wild Ink: How to Write Fiction for Young Adults, best-selling author Victoria Hanley provides writers with invaluable information about the craft. Although the title says it is for those who write for Young Adults, I believe the techniques, insight and resources Victoria provides in the book, could apply to any fiction writer.

The first part of the book deals with different aspects of the craft of writing like Finding your Writing Self, Resources for Writers and Submitting your Manuscript. My favorite section in this part of the book was the Overcoming your Obstacles section. Victoria not only identifies those obstacles, but then provides tips on how to get past them.

The second half of the book has interviews with different folks in the publishing industry. What I found unique about the interviews was they included a sampling from all facets of the industry. There were traditionally published authors, self-published authors and authors who hadn't been published yet, but were seeking representation. We also hear from agents and editors and get their insights.

Wild Ink is a great addition to the Cottonwood Press catalog and is a must have for any fiction writer.

Finally, a book geared specifically toward writing YA. Hanley is an accomplished teacher, and the tone she strikes with this book is informative, engaging, and invigorating. Her insights into writing Young Adult books, the revision process, and the publishing process are excellent. This is a great book to help you get started on the road to publishing, as well as a friendly book to use as a companion while you're writing. In addition to Victoria's advice, there are also several interviews and excerpts from published YA authors (look for me --I'm in there!). When I get stuck writing, I often flip through this book and let the encouraging words of Victoria, or the author authors she's collected, guide me on.

I've had the pleasure of experiencing firsthand Victoria Hanley's gift of generously sharing her extensive knowledge with others. Wild Ink takes her gift a step further, guiding aspiring authors through the writing process all the way to submission and publication. This book is packed with advice for finding your writing self, ways to overcome common obstacles, and helpful resources for writers. However, all this information is not exclusive to YA writers. Anyone with an interest in writing will find this book useful. The interviews with agents, editors and other authors are an extra bonus.

The Seer and the Sword
The Healer's Keep
Light of the Oracle
Seize the Story: A Handbook for Teens Who Like to Write

As a graduate of two correspondence courses offered by the Institute of Children's Literature I can honestly say that I wish I'd seen Victoria Hanley's book, Wild Ink, before I signed up for my first course. It would have saved me from learning a lot of irrelevant material and it definitely would have saved me some bucks.

Victoria's book covers what any inspiring writer of young adult fiction needs to know, from finding your writing self to getting your manuscript published.

If you have the discipline and dedication to pursue a writing career on your own then this book's for you. Commitment to being a successful writer is definitely needed, whether you take the expensive route, as I did, or take advantage of the priceless information contained within this book.

Ms. Hanley has provided an invaluable resource for the serious wannabe writer of young adult fiction. I highly recommend it.

Quick disclaimer-- I'm one of the authors interviewed for this book, but I would heartily recommend it even it I weren't! I've been looking for a book like this to recommend when I do writers' workshops, and finally, at long last... here it is! Wild Ink definitely fills the gap, and fills it beautifully. This book contains all the hard-earned wisdom and practical advice that I wished I knew before my first book was published. What I love most about Wild Ink is the compassionate, funny voice and the abundance of personal examples. Hanley covers a range of topics on writing for teens-- from overcoming self-doubt (which was a HUGE obstacle for me) to finding an authentic teen voice to submitting your manuscript. She gives a great overview of the sub-genres of young adult literature, and addresses all the common questions, such as the pluses and minuses of self-publishing, whether to include profanity or sex, and how to find your writing self. Hanley also includes interviews with agents, editors, and authors, which bring in a variety of fascinating perspectives. One thing that really sets Wild Ink apart from others of its kind is that it's obviously written from the heart, acknowledging the mysterious role of the spirit/unconscious self in writing... and as a writer who delves into this realm every day, I appreciate the way Hanley weaves it into her book.

The Woman's Public Speaking Handbook is an essential text for professional women. This book has helped me improve my public speaking in a number of contexts -- including traditional speeches, meetings, professional panel presentations, and awards ceremonies. In addition, the chapter on public persona has helped me choose the role I want to play in public contexts -- something I had never thought of before that has changed how I approach a number of formal and informal speaking situations. Best of all, the book is fun to read. The examples Professors Natalle and Bodenheimer use are informative and engaging and the tone is direct and personal. This is a great book for personal use or for educating other women as public speakers.

The Woman's Public Speaking Handbook is an essential tool for women in all walks of life--from students, to professionals, to occasional public speakers at volunteer or even personal events. I learned many tips that I'm incorporating into my presentations. Thanks to the authors for recognizing the need for this important book.

I found this book to be an exceptional "tool" for any woman in the business world. It takes the daunting task of speaking in public, and makes it almost easy.

I have implemented many of the tips and training techniques with my staff (of women)and have seen marked improvement in their presentation skills.

Moreover, I have witnessed a positive change in the confidence level of my staff.

Particularly helpful to me are the pullout tools. I have used the Presentation Checklist and the Speech Outline Template with much success.

This is not just a textbook for students...it is a necessity for any successful business women.

I found this book to be an exceptional "tool" for any woman in the business world. It takes the daunting task of speaking in public, and makes it almost easy.

I have implemented many of the tips and training techniques with my staff (of women) and have seen marked improvement in their presentation skills.

Moreover, I have witnessed a positive change in the confidence level of my staff.

Particularly helpful to me are the pullout tools. I have used the Presentation Checklist and the Speech Outline Template with much success.

This is not just a textbook for students...it is a necessity for any successful business women.

A corporate trainer with 15 years professional experience, I was surprised to find so many gems in The Woman's Public Speaking Handbook that directly apply to my role. While I've always been fascinated with great female public speakers like Elizabeth Dole and Patricia Ireland, I've always assumed they possessed a rare je ne sais quoi. It was motivating for me to read such detailed analyses that highlight specific public speaking behaviors that contribute to these women's success. That coupled with the authors' common-sense approach to readers to develop their own style makes this Handbook an excellent resource. I recommend it for any woman who cares about communicating effectively.

Public speaking is a wonderful way to gain self-confidence and self-esteem. This book is a gem in that it helps women become more sure of themselves in the competitive world of men.

The book is well-written and helpful to all who wish to know how to speak clearly.

Watching women break through the glass ceiling when I was an executive at Catalyst convinced me of the importance of effective communication skills for women's success in the workplace. Written in a winningly personal style by two seasoned pro's, Women Seen and Heard is chock-full of practical advice, insights on overcoming the stereotypes that women speakers still face, and exercises sure to yield immediate results. Whether you are new to public speaking or an old hand at the podium, you need this book!

I wanted to pass on to you some of the great ideas I have
personally been using from this book.
First, I have been actively learning from the women speakers I have come across. Developing my "role models" is important to me at this stage of the game.
Second , as a woman of color, I really appreciated chapter 10. The points that are touch on are so crucial. Establishing your credibility from the start -and keeping it- is so important, not only in speaking engagements but also in life.
For any woman that wants to seen and heard in her life this book is a very valuable tool!!!

Both very useful and fun to read, unlike a lot of "How-to" public speaking books. I appreciated the history mixed in, too.
I do public relations for high tech companies so I'm required to be a good communicator, but I often run into huge challenges because of the fact that I work with technologists (who are notoriously bad communicators) and 99% of whom are male and have a tendency to immediately dismiss me as a source of valuable insight because I'm young, attractive, and female. In battling past those first impressions, I've found that effective communication is 20% what you say and 80% how you say it. Although at first blush this seems to be geared only to professional public speaking, the examples in it are really good for everyday interactions as well. A great book!

Here, at last, is a practical guide to enable women to assess how they present themselves not only on the podium but in almost every context of their lives. The accomplished authors are not male aversive, but very supportive of our capitalizing on our feminine perspective and it's delivery in a riveting manner that is "seen and heard". As a psychotherapist, I wish I had had this book long ago as a support to my clients who could not find or doubted their true voice on stage, in the workplace, and even in their interpersonal relationships. Bravo! and thank you Lois and Anita.

All wordsmiths, and even those who just like to laugh, will enjoy this very clever and funny book which is, in many ways, a good-natured spoof on our culture, values and outlook.

It's not so much that the words in Word Fugitives are in flight, but rather they are waiting to be created. Ms. Wallraff has captured a moment in a highly fertile time for neologisms. Since publication of this slim volume, many new words have entered our language, but the real value of this book is the author's establishment of a perspective in which to view the birth of a new vocabulary.

Having (barely) survived a period in which so many new words were added to our language not from necessity, but from ignorance (e.g. :incentivize" where motivate has long served us well), it's exciting to think we are at the beginning of an era in which linguistic creativity serves a real need.

I recommend Word Fugitives to anyone who revels in the vitality of the English language and the inventiveness of the Anglophones.

Barbara Wallraff has written one of the most fun word books I have yet to read. We are always looking for new ways to express ourselves and she not only acknowledges the wisdom of this practice, but makes it safe and secure while fitting the neologisms into the existing structure with care and panache.

This fantastic mind expanding book has grown out of Ms.Barbara Wallraff's column in The Atlantic Monthly. Something that I have followed for years. It overflows with diversions, (e.g. "English hasn't had a new pronoun for about a thousand years, and there is no sign it will acquire one any time soon") quizzes, contributions and comments from people who are authorities, linguists, authors and plus the fact that it is made sprightly cheerful by supplications from people who are groping for words that remain to be found. Quoted as "English at a Loss for Words",even when Global Language Monitor, an organization estimates there are more than 900,000 words in the English language, and more are being added every day.

To explain about this book, even when we know that feeling it is often that we are not able to find the exact word that defines it - often that word does not exist, (Or it is a sniglet - "word that should be in the dictionary, but isn't) - despite the exuberant and extravagant richness of our language. This endeavor by Ms. Wallraff proves, and I am beginning to be convinced that perhaps even language such as English is dismayingly inadequate. This book comes to rescue providing hundreds of words minted, coined, redefined or delimitated. Just like when you're looking for a word that can mean either "a phantom" or "an ideal" -- eidolon would come handy.

- People who blabber loudly and annoyingly on cell-phones in public? Yakasses.

- Disposable plastic bags caught in trees? Fouliage.

- And when look up a word in a dictionary, and get distracted by something totally off the subject, on the other side of the page? This is called double-entry-bookpeeping. Or is it lexploring?

- What would you say of the times your car or washing machine or TV breaks down, and you pay a repairman to take a look at it, but when he or she - turns it on , IT WORKS ! you can call it deus hex machine. Or how about? Hocus operandi?

Another example to serve the purpose - like what would you call the experience of having recently heard about something for the first time and then starting to notice it everywhere? How are toujours vu, newbiquitous or coincidensity.

What would you call the feeling when you revisit the same refrigerator you had left disappointed few minutes ago, hoping to find - this time, the perfect snack -- which you overlooked before. Well that's leftoveractive imagination. Other choices such as Cold comfort, refrigerator magnetism, smorgasboredom, and freonnui have also been suggested. Somebody has even called it stirvation another one terms it as procrastifrigeration.

Would it be handy to use a word for that momentary confusion everyone experiences when they hear a cell phone ringing and wonder if it is theirs? There - fauxcellarm, phonundrum, pandephonium , phonundrum , ringchronicity , ringmarole or ringxiety are the suggested choices.
And what would like to call your offspring who are adults? (Try unchildren or offsprung.) Or the word for the irrational fear when you're throwing a party that no one will show up? (That might be guestlessness, empty fest syndrome, or fete alism.)

Again what is a word to describe the process of going through the dirty-clothes hamper to find something clean enough to wear? which one would you like to take skivvy-dipping snifferentiate, brainwashing or laundry composting. Or even the laundry alternative is known as dry gleaning.

This book captivates and inspires. I cannot say any further, lest you call it Fullabullacolumnia - some description that goes on and on and on

Every language in the world has the capability of producing an infinite number of words. Just think of constructions like "anti-ballistic missile" or "anti-anti ballistic missile" or "anti-anti-anti ballistic missile" and so on. After awhile, making them up becomes a bore. Not so in "Word Fugitives." Here the trick is to come up with words to name situations as yet unnamed. What do you call the feeling, for example, just after you thought you had stepped off the curb and suddenly realized you were falling? Bad news? "Word Fugitives" does much better than that. It is a funhouse of a book, finding new words for old situations in clever, amusing and quite unexpected ways. This book is first and foremost fun to read. Then it will provoke you. And finally, it will enlighten you. For those of you lost in the thicket of lexicography, this book is a machete.