Articles Books

I picked this book up hoping to write a cookbook, and I have to say that I love it overall. Dianne's style is lyrical, and she's got the friendly tone of a beloved mentor. It's a comprehensive guide, and while it covers any topics, if you want to delve into deeper detail on any one of them, you need to do more digging for further resources. This guide, though, is a great introduction and inspiration. Highly recommended.

In a profession without a road map, this book is essential. A skilled editor, Jacob's tone is at once motivating, demanding, and kind. In her chapter on recipe testing, she brings you into famed kitchens--i.e. those of Deborah Madison, Mark Bittman, and Alice Medrich--to show that recipe developing is both hard work and loads of fun, like food writing itself.

I stumbled upon Dianne's website while I was researching for my book proposal. I wasn't planning to write a cookbook but since I love food and this book is so unique, I got myself a copy anyway.

I'm pleasantly surprised! I've learnt a great deal about raising one's platform/profile before publishing a book, as well as the nuts & bolts of the publishing industry. This book is a MUST-HAVE for all aspiring cookbook writers!

An inspiring food writing with a stack of gastronimic literature to read through over a long weekend, I had a goal of finishing at least two of three books that were sitting on my coffee table. The first one I chose was "Will Write for Food" by Dianne Jacob. A food writer who's been writing since 1978, Dianne also instructs and coaches individuals and groups on becoming successful food writers. As she mentions in her book, she used to tell students to go check out books at the library about food writing to gain perspective of the business outside of class. After students repeadedly came back to her stating there were no books out there on food writing, Dianne decided she'd be the one to write it. So I guess one could say this is the first book published on the nuts and bolts of becoming a successful, professional food writer. I found the book incredibly helpful, honest and no-nonsense. Dianne has a gift for mixing honesty (don't quite your day job right away) with pep talks (just keep writing, you'll get there). She delivers practical advice and covers topics from writing cookbooks to the art of restaurant reviewing, pitching food article ideas to magazine editors to writing memoirs, and getting ficiton and nonfiction pieces published. The book also features a number of exercises at the end of each chapter for readers to stretch their creative muscles, like brainstorming exercises that assist in developing magazine article topics, writing your own food recipe and researching food and book publishing markets. Finishing the book inspired me to march forward and capture all the ideas floating in my head onto paper to get them closer to being published pieces of work. This is a book I will refer back to regularly.

I have read many advice/guidance books on writing, and I truly found this book to have more practical and thorough information than all others I have read - and solely on the subject of food writing! The 'Interview Subjects,' 'Bibliography,' and 'Selected Web Sites' sections knocked my socks off. It is obvious that Dianne Jacob put a lot of time and effort into this book. I read it completely in just three days, and I will refer to it regularly for my food writing pursuits.

Writing for women's magazines like Elle, Cosmopolitan, Woman's Day, Ladies' Home Journal, Redbook, Reader's Digest and the rest of the big names in publishing takes more than technique and writing skills. It takes knowing what works and what doesn't. Donna Elizabeth Boetig demystifies the process.

>From links to resources and tips on how to slant a story to make it a must read, Feminine Wiles: Creative Techniques For Writing Women's Feature Stories That Sell offers sound, proven advice and a lot of experience in the trenches. Having made most of the mistakes from time to time, her timely and time tested methods illustrate how to take a so-so idea and make it stand out.

Boetig also gives the inside scoop on what editors like to see from writers and how to hook an editor with a winning query. She also explains the difference between gushing, a technique guaranteed to land a quick rejection, and plucking the right emotional string.

Savvy and honest, every writer needs a copy of Feminine Wiles if they're serious about writing that sells and keeps selling.

Boetig's lead coverline, "Creative Techniques for Writing Women's Feature Stories..." doesn't give the whole picture. I found it to be "Creative Techniques for Writing That Will Sell" - period.

I am a relatively new (notice I didn't say young) writer who reads every book I can find on How to Write, How to Market, and How to Paper My Walls With Rejections. Although I write mostly nonfiction, I give Boetig's "Feminie Wiles" a Blue Ribbon.

Her tips, examples, anecdotes, and words of encouragement apply (and appeal) to all writers. I will be using her book as a reference in my upcoming writing classes, and I will encourage my students to purchase their own copies. It is a gem.

Feminine Wiles may be marketed toward women, but the advice offered will work for anyone whether you are writing for women or Field & Stream. Boetig reviews the basic process for lining up an interview, dealing with editors, and writing what sells. This is by far one of the better resources for freelance writers on the market today.

As a freelance writer, I'm always looking to expand my interests and marketability. Boetig's book brought a fresh perspective with lots of real world helpful ideas. The packaging is clever and the voice is easy to read. I particularly like it that you do not have to read the book in order, but rather, open it to the page you need and benefit immediately. Organized well. Well written. Lots of helpful information. Highly recommend.

Of the many how-to books on writing that I've read, I am really pleased with this one. From the very beginning, I gleaned tips that I have never read before. It's written in a relaxed style, much like actually talking to the author. I highly recommend this book if you want to write for magazines.

The real value in this book is that it has explanations about recent case law, the popular and dissenting opinions, and implications of the Bill of Rights.

Of course the book has much more than that, but as Americans our liberties are the most valuable asset we possess. This book is a good reminder of all the history, and how amazing the freedoms we have been gifted as American citizens are. I like to re-read the Constitution every few years, and this book, with its included annotations, is a good way to do that.

THE DECLARATION OF INDEPENDENCE
& THE CONSTITUTION OF THE UNITED STATES
preface by Roger Pilon

This is probably the best-liked of all the pocket Constitutions out there due to its compact size and nice-looking appearance. It's height and width are roughly akin to a man's wallet, making it easy to carry and

The book begins with a preface by Roger Pilon of the CATO Institute. Pilon recommends that Americans should use the Declaration of Independence to provide a context for the more specific language in the Constitution. He points out that the Founders believed that our rights are inalienable and come from the principles of natural law. Our rights do not come from the government, and the government exists to protect our rights and defend the country. The Founders developed the system of enumerated powers so that no segment of government would hold too much power.

Included are the Declaration of Independence, the U.S. Constitution and a list of amendments to the Constitution, including the Bill of Rights (the first 10 Constitutional amendments).

This is the same version of the Constitution that Rep. Dennis Kucinich (D-OH) pulled out of his pocket during the MSNBC debates and on the Colbert Report television show. It is also the same one that Republican B.J. Lawson (called "Ron Paul Jr.") held up during the GOP primary race in North Carolina (he later won the nomination). Here's to any elected official who has read and understands the founding documents of this great country!

"Government officials must respect their oaths to
uphold the Constitution; and we the people must
be vigilant in seeing that they do. The Founders
drafted an extraordinarily thoughtful plan of
government, but it is up to us, to each generation,
to preserve and protect it for ourselves and for
future generations. For the Constitution will live
only if it is alive in the hearts of the American people."
~Roger Pilon, pg. 7

This pocket sized version of The Declaration of Independance and Constitution is a must have. Get one for your kids to keep in their backpacks.

Easy Read and Good little History book. I enjoyed the little history lesson at the beginning of the book.

Very pocketable reference for persons who have need for occasional reviewing of the language of our Constitution and the Declaration of Independence.
Some constitutional law buffs may disagree with the Cato Institute editor's introduction in some particulars, but both the titled texts are complete, not annotated or edited and are quite accessible and readable.

The Art Spirit is a classic. No artist should ever be without a copy. This book invites reading time and time again. It brings us back to the principles. The value of things. Right thinking. Relationships. As a practicing artist, I can think of few books that have meant so much.

Any artist who does not have this book in his or her library is being cheated out of great insights:

"There are mighty few people who think what they think they think."

"Be willing to paint a picture that does not look like a picture."

"...pictures which do not represent intense interest cannot expect to create an intense interest."

"Effects of perspective are made or defeated by sizes of strokes or by their tonality."

And this is just the teaser.

George Bellows, Edward Hopper, Patrick Henry Bruce, Stuart Davis, Rockwell Kent, Guy DuBois, Alfred Maurer, Carl Sprinchorn and countless others studied with Henri and went on to do great work. There are too many for this to be simply coincidence. The "Art Spirit" is the closest thing we can get to the Kool-Aid that flowed in Henri's classroom. One can glean quite a bit from the pages of this book. It is both practical and inspirational. I have to say that it can be a bit frustrating not being able to see anything or ask a question, but its much better than nothing (thank you Ms. Ryerson!). Buy a copy and read it.

If you are an artist, have an interest in art or even just like to read thought provoking quotes then you could do a lot worse than have this on your shelf. The book is collection of conversations, thoughts, writings. There isn't much of a structure to it - more a random collection although the index helps somewhat. It lends itself to just opening the book at a random page and reading whats there. It contains one salient point after the other on the how's, whys and wherefores of painting, drawing and sculpture. This book should be on every artists shelf.

The Art Spirit. Now there's a bold title. The implication is not only that there is such a specifically identifiable thing as an "art spirit", but also that the author, painter, and teacher, Robert Henri knows these specifics; a bold implication indeed. The difficulty (wherein lies the boldness) whenever one attaches the word spirit -or spiritual- to anything, there are, of course, as many understandings or perceptions of that word as there are hearers and readers of that word. This may exist to no greater degree and appear no more obvious than in the world of visual arts. Henri himself acknowledges this, writing in the forward, "...the opinions are presented more as paintings are hung on a wall, to be looked at at will and to be taken for what they are worth. If they have a suggestive value and stimulate to independent thought, they will attain the object of their presentation..." And later, "There is no idea that anyone should agree with any of the comments or that anyone should follow the advice given. If they irritate to activity in quite a different direction, it will be just as well." Although he embraces this free thinking, to-each-his-own, take what you will from it approach, it is merely one of the specific personality characteristics evidenced in the Art Spirit. Henri intends to show there is an "art spirit", and it is the province of every human being.
This is the crux of the issue for Henri, his point of departure from other artist/writers, and the chief value of this book: The Art Spirit is attainable by anyone, can be exhibited by everyone.
Other works on the subject tend to be either the less specific, more nebulous notions where we are expected to buy the fancy explanations and just accept that there is something spiritual, or of the spirit, going on here, or the very specific, artist-only oriented varieties. For example, consider Mandarin's grid "composition" series and his writing about them. While his theosophically induced explanations may help some to a degree of understanding, we are essentially left to take his word for what we are supposed to be seeing in the canvas. In his "Concerning the Spiritual in Art", although Kandinsky presages Henri -discussing psycho-emotional, expressive, and contemplative states of artists out in the real world and before the canvas- he ultimately leaves it with the artist, not really taking it out of the studio and into the factory, construction site, or office cubicle as Henri does. Whereas Kandinsky seems to digress at times into a sort of "how -to" instruction guide for defining and placing spiritual elements into a picture, Henri takes it further, defining his Art Spirit, then setting about showing us how to tell when it's present. This every-man definition is offered at the very beginning of his book:
"Art when really understood is the province of every human being.
It is simply a question of doing things, anything, well. It is not an outside, extra thing.
When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible.
The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others. He does not have to be a painter or sculptor to be an artist. He can work in any medium. He simply has to find the gain in the work itself, not outside it."
Henri then spends two hundred and forty five more pages illuminating and reiterating how one is -or can be- an inventive, searching, daring, self-expressing creature; how to live life to the fullest. The Art Spirit manifests itself in the appreciation of the non-material things in life; in the "true student" who self-educates and explores feelings, meanings, who contemplates, who really sees, who learns to express "who is you"; in what comes from the external world and inside you; in the full enjoyment in the living of life; in doing a thing well ... anything.
Henri accomplishes a difficult task here; a book with specific and important information for the artist, yet within that structure filled with insight and compelling ideas for the non-artist. One is urged to make a full reading, since quite often both are mingled in the same sentence or statement. For example, a non-painter might be tempted to skip the ten-page section on brush strokes (pg. 62-72), seeing no need for it. The unfortunate reader would then miss out on many little gems of insight and information. What is a brushstroke but a purposeful committed action by an artist? So then, consider the message in these statements when you substitute the word "stroke" with "action" or even "attitude" (parenthetical insertions are mine ):
"Strokes carry a message whether you will it or not. The stroke is just like the artist (person) at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littleness are in it."

"There are more strokes which laugh, and there are more strokes which bind laughter, which freeze the face into a set immoveable grimace."

"(There are) bad strokes which are bad because a brush (a method) or a condition of paint (situation) were chosen which could not render them."

While Henri plays to both artist and non-artist audiences, it is at these times when he addresses the artist more directly he more closely aligns himself with Kandinsky. Both men bring their great passion for the subject into their text in their strong, clear, and pleasing voice. Kandinsky, sounding alternately-yet only slightly more- poetic here, technical there; Henri with a bit more enthusiasm. They share the same territory on many issues, such as the shape, direction, and function of line, intention of every stroke, careful planning followed by exuberant expression and more. Yet, while they may travel the same road, they do not share the same vehicle. There is an important distinction in each man's approach to spirituality, or the art spirit. For Kandinsky, there is a spirit world out there, and a spiritually inspired painter can -and should- find ways to represent both that indwelling spirit and that exterior spirit world to which we are all connected. Henri says (when) we search the external world with appreciation and wonder, and we search within ourselves, and when we become more self-expressing creatures, we have the art spirit...we are the art spirit. Kandinsky believes only non-objective images can reveal the spiritual, Henri says it matters not what you paint but how you paint it-compelled by the spirit. So while Kandinsky can use the "psychic effect" (pg. 24) of color to manipulate the viewer's emotional state toward a comprehension of the spiritual, Henri says the artist's mark itself can manifest the Art Spirit. While, in both cases it takes a more or less purposeful opening up to the notion of the spirit, for Henri it is not trying to grasp the spirit and record it, it is about internalizing and building the spirit inside ourselves, and our resulting expressions will, by definition, represent the Spirit. And it is possible for all of us.
The long quote above (from pg. 5) is written exactly as printed in the fifth edition printing not only as expository text, but as a means of illustrating Henri's bright, clear and energetic voice that runs throughout this book. The subtitle for The Art Spirit reads, "notes, articles, fragments of letters and talks to students, bearing on the concept and technique of picture making, the study of art in general, and on appreciation," and that is exactly how it reads. Much of this is due to Henri's considerable gift of communication, and the balance is credited to the physical layout of the book. There are no chapters, even very few headings to sections, lending itself very well to opening to any page and beginning to read. At times, a lecture, or perhaps advice to a single student goes on for five, six, seven pages. Other times, pages are divided into two or three sections, or set up in individual sentences which concern the same subject, yet stand on their own. The resulting effect is the feeling of being in the very classroom of Professor Henri. There are also considerable instances of repetition here, albeit in subtle variations. The index, however, is usefully repetitious as well, helping to differentiate between those subtleties when one may be in need of a specific quote or reference.
The last thirty pages are exact notes taken by Margery Ryerson, a Henri student who eventually compiled the notes, fragments, etc.(in the revised edition, she is credited as Editor). This is an excellent addition to the book. Reading Henri's comments and insights in her necessarily abbreviated, note-taking style provides fresh psychological weight to the reality of Henri's classroom.
One area of disappointment concerns the photograph illustrations of Henri and his work. In the fifth edition, the plates are in black and white. Although understandable at the time of inclusion (1930), they do not allow for close comparison with Henri's ideas and techniques about painting elaborated in the text. The real disappointment is to find that the current edition available from booksellers has not updated to colorplates, but jettisoned the pictures entirely, save for the full color cover.
I recommend The Art Spirit to anyone involved in the creative process. It is a must have, particularly for those times when one may be experiencing a creative burnout, or to shake off the cobwebs. I am recommending The Art Spirit to non-artists as well -anyone who is looking for a little spark, a little positive push toward self-actualization.
For the artist, I am not recommending The Art Spirit over the Kandinsky classic; I see Henri's work as more of a continuation, or a rounding out of what Kandinsky started years before. Artists and aspiring art appreciators must read both if there is to be any hope of understanding

If there was an exclusive country club for published writers, Shirley Jump would open the door and invite you in.

It is evident from the book that she has a real knack for teaching what she knows. And since she has sold over 3000 articles, two non-fiction books, and is an award-winning novelist, I think she's qualified to teach!

The highest praise anyone can give a how-to book is: "It worked for me." After I read this book, I "joined the country club" and got my first article published. That one opened the door for many others!

I have read and enjoyed other books about writing, but this is the book I actually use. The information presented in How to Publish Your Articles is very accessible and highly readable. It's great for beginners as well as experienced writers, because it cuts out the fluff and just tells you how to do it.

How To Publish Your Articles is a great resource for beginning freelancers who want to publish articles. The author, Shirley Jump, is an accomplished author of nine books, has contributed to various anthologies, and has countless numbers of articles under her belt.

In Part One, Shirley begins with the basics of writing. She first helps you define your goals for writing. Then she explains the article market and how it works.

In Part Two, you learn about article publishing. You have to know where your article fits in, which helps you to find the right publication for your piece. Shirley explains in detail every type of article there is for you to write, as well as every type of publication there is out there for you to submit to.

The thing I like about this book is that Shirley doesn't just tell you what you need. She explains in detail how to write your cover letter, for example. The section on writing your cover letter, literally takes you step-by-step through the salutation; introductory paragraph; second, third, and fourth paragraph; and the closing. Not only that, but she also tells you how you should format your letter and what type of paper should be used to create a business-like appearance. Taking it one step further, sample cover letters are also included, so you can actually see how it's done.

Part Three delves into building your career as a freelance writer. Shirley discusses how to find ideas for your articles, as well as how to recycle old ideas. Next, she takes you through composing the query letter. As in the cover letter, she walks you step-by-step, from beginning to end. Example query letters are included for both published and unpublished writers. She also includes samples that did and did not make the sale.

Shirley also talks about researching and writing your article, once the sale is made, as well as important facts about contracts and rights. The book is rounded out in the end with inspirational advice and thoughts from Shirley about building your career as a freelance writer.

I believe How To Publish Your Articles should be a staple for every writer who is starting a career as a freelancer, or who is thinking about starting. It is full of important information that is pertinent to every freelance writer.

When you purchase your copy, I suggest you read through it once entirely. Then, once you consume the information for the first time, go back and start from the beginning and use a highlighter. Don't be afraid to take notes in the side margin, too--there's lots of space there, so utilize it!

How To Publish Your Articles is the most comprehensive book on freelance writing that I have ever read. As a new writer it has been instrumental in helping me get published. With user friendly instructions Ms. Jump takes the anxiety out of formatting queries and proposals. Whether you want to crack the magazine market, write short stories or personal essays, all the infomation you need is here. Take the advice in this book and put it to work, you won't be sorry!

Shirley Jump has been freelancing for most of her life. Now she shares her secrets for success in this great book. Do you know someone whose New Year's Resolution was to start writing? Buy them this book as a show of support. It should be on every writer's desk, between the stamps and the coffee.

Reviewed by Carolyn Howard-Johnson,award-winning author of This is the Place and Harkening: A Collection of Stories Remembered

I asked for a copy of How to Publish Your Articles by Shirley Kawa-Jump because I'm writing a series of how-to books for retailers and wanted to recommend a tell-it-all book on a subject I would just be touching on. Having published many articles in the national and local media, I was afraid I wouldn't find a good one, that I would be too tough a critic.

Now I'll have to eat my fears. If that is similar to eating crow, so be it. Having published more than 2500 articles herself, Kawa-Jump's book is thorough and knowledgeable. It's also both basic enough for beginners and advanced enough to be a good review for accomplished writers. Seasoned article writers might even find a new tidbit or two that will help them with marketing, with their contracts or with building their careers.

What I liked best about HTPYA is that it gives a mini insider's view of how an article reaches a publication's desk and it does it for categories from large consumer magazines to e-outlets.

I was surprised that the chapter I found the most rewarding was all about goals. Obviously, my retailers who choose to pursue writing articles in their area of expertise are going to have to narrow their goals very drastically. If it will work for someone with such a strict objective, it's sure to do even more for writers with big dreams.
--------
(Carolyn Howard-Johnson's first novel, This is the Place, has won eight awards. Her newly released Harkening: A Collection of Stories Remember,has won three.)

Just like the title, this book is a great guide to "Academic Legal Writing." Step by step, the author takes you through the process of writing a publishable legal article. Every aspect is covered: from how to form a thesis to how to publicize and publish your finished product. Every law review student should read this book while writing his or her student Note.

Former clerk to the Supreme Court and Professor at UCLA Eugene Volokh has given a remarkable gift to the legal community that would be a bargain at twice the price. It delivers pragmatic and thoughtful advice in a remarkably clear and lucid style. Moreover, it is not simply clear for law books--frankly, a low bar to pass--Volokh writes for the ordinary public daily on his eponymous blog (where you can read the first chapter of this book), and the skills required for that task manifest themselves in this work.

Academic Legal Writing is also extremely systematic. Every aspect of the paper is taken into consideration, from the approach to research, to avoiding off-putting humor or politically charged language, time tables for submissions, and so on, even including how to draft letters to professors and law reviews asking them to look over your work and to consider it for publication.

Academic Legal Writing is really in a class by itself. That said, perhaps I can indicate its greatness by invoking a few other names. Academic Legal Writing is a perfect companion volume to Bryan Gardner's The Elements of Legal Style. It is as clear and concise and accessible as Marvin Chirelstein's Concepts and Case Analysis in the Law of Contracts, and it deserves to be as ubiquitous and is certainly as valuable, thoughtful, and comprehensive as Joseph Glannon's E&E Civil Procedure and Erwin Chemerinsky's Constitutional Law: Principles and Policies. If you know these books, you should be going "wow." If you don't, and you are going to law school, I advise reading all of them. (Also Getting to Maybe, which I never found compelling, but am in the distinct minority view on.)

I read Elizabeth Fajans and Mary R. Falk's Scholarly Writing for Law Students, which is also good and which Volokh recommends. Academic Legal Writing appears to be a very conscious next step beyond that book. In a perfect world, buying and reading both would be advisable. In the real world, I read Scholarly Writing once, Academic Legal Writing many, many times. Academic Legal Writing is your desert island pick.

Please do yourself a favor and read this book. If you don't, you will simply be doing all of your competitors a likely unrequited kindness.

One final note: Professor Volokh is a conservative of the thoughtful and sober variety. I am a liberal of the sort who avidly studies the Endangered Species List to see if "Thoughtful Conservatives" have been listed yet. This is not an issue: Professor Volokh's political beliefs are discernible in this book only by the most careful parsing: in some of his examples, he points out the misleading use of statistics in gun violence, an academic preoccupation of his. You could then do the math and figure out that he has at least one conservative leaning. Otherwise, his politics would be utterly inscrutable. And, frankly, this book would be on my bookshelf even if Professor Volokh had say, written a memo arguing that the Geneva Conventions were outdated and pointless. John Yoo, your path to redemption is clear.

I didn't participate in law review or any other extracurricular activities. Since I didn't want to work for a big firm or a judge, I figured my time would be more rationally allocated by reading books on trial and appellate advocacy. I've read most of F. Lee Bailey's books on how to investigate and try various cases, I've attended several trial skills CLEs, and I've studied the closing arguments of the greats. I've also read just about everything by Bryan A. Garner.

Thus, going into my last semester of law school, I knew a lot about persuasive and analytical writing, but almost nothing about scholarly writing. I had avoided "paper classes."

Unfortunately, my desire to take a certain class was outweighed by my aversion to academic writing: I was in a class where the entire grade would be based on one paper. Thus, I turned to Volokh's Academic Legal Writing.

The date my paper was due severe formatting glitches caused me to lose 4 - 5 pages of text - the guts of one of my "Roman numeral" arguments. I spend several hours fixing the formatting that could have been spent doing final polishing. Although able to fix the footnotes, I never recovered that lost text.

Nevertheless, I earned the second-highest grade, missing the top score by only 2 points. In earning this grade I bested several law review editors, and many of the top 10 students.

Had I not read and employed the principles in Academic Legal Writing, I am confident I would not have done so well.

One principle I learned was to demonstrate to the reader early in the paper why the paper is necessary. The best way to do this is to show that your paper picks up where another article left off, or that your paper covers an issue previously ignored. Thus, I began:

"Although the federal bribery statute's scope is sweeping, covering conduct well beyond the "the most blatant and specific attempts of those with money to influence governmental action," it has been given scant attention. Legal scholars and political scientists are, in Professor Lowenstein's words, guilty of "sins of omission" for ignoring bribery. Little has changed since Professor Lowenstein's 1985 article. Thus, this Article seeks to fill one of the many gaps."

To those of you familiar with scholarly writing, making this point would seem obvious. But it was not obvious to me. Volokh's book taught me many things I did not know, and I suspect even experienced writers will learn something worth the investment of time and money in his book.

It's also likely that those of you fluent with academic legal writing learned things piecemeal. Volokh's work is systematic: You will fill in gaps of our own knowledge.

Go buy a book here.

Succinct, straightforward, info not available elsewhere (as easily), time-tested advice. Clearly worth having.

Former clerk to the Supreme Court and Professor at UCLA Eugene Volokh has given a remarkable gift to the legal community that would be a bargain at twice the price. It delivers pragmatic and thoughtful advice in a remarkably clear and lucid style. Moreover, it is not simply clear for law books--frankly, a low bar to pass--Volokh writes for the ordinary public daily on his eponymous blog (where you can read the first chapter of this book), and the skills required for that task manifest themselves in this work.

Academic Legal Writing is also extremely systematic. Every aspect of the paper is taken into consideration, from the approach to research, to avoiding off-putting humor or politically charged language, time tables for submissions, and so on, even including how to draft letters to professors and law reviews asking them to look over your work and to consider it for publication.

Academic Legal Writing is really in a class by itself. That said, perhaps I can indicate its greatness by invoking a few other names. Academic Legal Writing is a perfect companion volume to Bryan Gardner's The Elements of Legal Style. It is as clear and concise and accessible as Marvin Chirelstein's Concepts and Case Analysis in the Law of Contracts, and it deserves to be as ubiquitous and is certainly as valuable, thoughtful, and comprehensive as Joseph Glannon's E&E Civil Procedure and Erwin Chemerinsky's Constitutional Law: Principles and Policies. If you know these books, you should be going "wow." If you don't, and you are going to law school, I advise reading all of them. (Also Getting to Maybe, which I never found compelling, but am in the distinct minority view on.)

I read Elizabeth Fajans and Mary R. Falk's Scholarly Writing for Law Students, which is also good and which Volokh recommends. Academic Legal Writing appears to be a very conscious next step beyond that book. In a perfect world, buying and reading both would be advisable. In the real world, I read Scholarly Writing once, Academic Legal Writing many, many times. Academic Legal Writing is your desert island pick.

Please do yourself a favor and read this book. If you don't, you will simply be doing all of your competitors a likely unrequited kindness.

One final note: Professor Volokh is a conservative of the thoughtful and sober variety. I am a liberal of the sort who avidly studies the Endangered Species List to see if "Thoughtful Conservatives" have been listed yet. This is not an issue: Professor Volokh's political beliefs are discernible in this book only by the most careful parsing: in some of his examples, he points out the misleading use of statistics in gun violence, an academic preoccupation of his. You could then do the math and figure out that he has at least one conservative leaning. Otherwise, his politics would be utterly inscrutable. And, frankly, this book would be on my bookshelf even if Professor Volokh had say, written a memo arguing that the Geneva Conventions were outdated and pointless. John Yoo, your path to redemption is clear.

As an adult convert to Catholicism struggling for now five years with infertility, a non-American and the daughter of a founder of my hometown's Family Planning Association, I ordered this book wondering if it would help me sort out my mixed feelings about abortion. When it arrived my heart sank: though I had been interested in the topic, it looked long enough to remind me of the first-grader's book report, ``This told me more than I wanted to know about penguins.'' But it's so well-written, well-peopled and thoughtful it's a joy to read. When Cynthia Gorney describes a pro-choice activist she does it so carefully you feel certain she's pro-choice, and certain you must be. But when she describes a pro-life activist, you realize she might be pro-life -- and so might you be. If we were all be so generous and balanced, so readily able to enter into the subtleties of other people's positions, abortion might never have become a ``war.''

This book was wonderful. Though on first glance it seems very long and likely dense and dry, it is anything but. Gorney does a fabulous job of presenting both sides of abortion evenly and without bias. And she ties in the thoughts and feelings of the players with the actual battles of the day so smoothly that the book ends up being an easy and very enjoyable read. It should be mandatory reading for anyone involved in, interested in or having an opinion about abortion.

Before Roe vs. Wade thousands of women a year were getting illegal, unsanitary and oftentimes dangerous abortions. Articles of Faith does a great job of presenting both sides of the abortion argument. The book focuses on the abortion wars in Missouri. It starts in the 60's with Judith Widdicombe, who is an obstetrics nurse and who had an abortion herself. She is a key figure in the underground abortion world in St. Louis. She recruits doctors and she directs women to doctors. Her opinions on abortion are formed from personal experience as well as occupational experience. She was strong in her opinions that a baby and a fetus were different. She had seen hospital beds full of women dying of infection from getting illegal abortions. This led her to her calling.
While Judy was directing women to safer but still illegal abortions, the laws state by state were slowly starting to break down. This created a movement of concerned citizens who were against abortion. These citizens would give presentations using medical and scientific information to support their position that life begins at creation. As to drive their point home, they would show pictures of aborted fetuses. These pictures featured a trash can full of little fetuses and a bloody mass of appendages. What they didn't realize is that people like Judy Widdicombe looked at the same stuff, in real life-not in photographs. She would bring women with gauze and bandages stuffed up their vaginal cavities and let them miscarry in her home. She would then examine the remains of the miscarrage and make sure there wasn't anything left inside the woman.
After Roe vs. Wade, Judy set up a clinic specifically for performing abortions-the first one of its kind in Missouri. She wanted it accessible for all women, and wanted a warm and medical environment that set women at ease-they knew their situation was understood and they knew they were safe. This is where Samuel Lee is introduced. He arrived in St. Louis in 1978 intent on studying theology at Saint Louis University's seminary. As soon as he arrives he becomes involved with the Franciscans. They hosted a meeting of people planning a protest on the steps of an abortion clinic. This was how Sam became drawn into the abortion argument-he was exhilarated by it. Sam researched both sides of the abortion argument, but the more he read the more he became convinced that abortion was never justified-it was putting an end to human life. He left the seminary and became engulfed in the protests and the research-he would protest and be arrested until there was no longer a need to protest abortion.
The abortion argument came to a head in the 80's when Sam and Lou DeFeo wrote a bill that was passed by the Missouri state Senate and the House. It became a Missouri law in 1986. The bill stated that public funds may not be used for abortions and public employees may assist in abortions. The bill also stated that life begins at conception, unborn children have interests that should be protected and the parents of an unborn child have protected interests in the child. But that's only the beginning. The bill says that unborn children at any stage of development should have the same rights of all of other people. This was the first attempt to reverse the ruling of Roe vs. Wade, and it seemed well on its way.
One month before the law took effect, a lawsuit was filed against the bill by Frank Susman. He approached Judy, who had been fighting for almost 30 years for the woman's right to choose, and she was hesitant to join the lawsuit. She was tired of the fight, but she couldn't turn her back on this lawsuit-this one was too dangerous to reproductive health. The judge in that suit came back in 1987 declaring that every provision in the bill was unconstitutional. In 1989, the law suit went to the U.S. Supreme Court for appeal and the justices left Roe vs. Wade alone. The problem with this ruling is the vagueness of the language in the ruling-saying that parts of Roe needed to be more defined, but that it needs to be argued for years to come. When I read the ruling in this book, I really didn't understand exactly what it meant. It almost seemed like the judges had very definite opinions, but they were all different from each other.
After reading this book, I was more affirmed in my own opinions of abortion. It was really interesting to read the other side of the argument. There's no arguing that at life begins at conception-just like a every cell in our body is life, so is a zygote. However, the foundation of my belief in the pro-choice movement lies in the belief that a woman has the right to decide if a fetus should be born. One of the best bumper stickers I've seen about abortion is "Don't like abortion? Don't have one." A woman deserves the choice, that's it-PERIOD.

Written in 1998, and criticized for stopping its retelling of the abortion story in the U.S. several years before that, Articles of Faith is nevertheless still an important book and may be increasingly so if the abortion debate heats up again now that George W. Bush is President. A completely even handed retelling of the history of the abortion debate in the U.S. from the 1960's through the 1990's told through the lives of dedicated partisans of both sides. Yet the author tells this story with sympathy to both sides. Its hard to read this book, your emotions swing from side to side in the debate as Gorney shifts her focus from chapter to chapter from pro choice to pro life. Each side is presented forcefully, but not stridently. Its an excellent book.

Once in a while, there's a rare book that'll smack you in the noggin, grab you by the lapels and scream, "This is how it really is! Now learn something!"

Articles of Faith is one of those books. You'll learn abortion is never nearly so clear cut as "either side" would have you believe; you'll see how each side's arguments, legal status, movements and, later, extremism are developed. But most importantly, you get the honest truth about what it's all really about, or not about. Despite the serious of the issue, I was never even able to get a glimmer of what Gorney's own view is of abortion. It's not simply objective; it never fails to delve into the details of each side, while coming up with an occasional fresh insight.

Never again wonder if that stain will come out. This reference book will show you how to get that stain out.

This book is full of interesting material and helpful hints to relieve the pain of housework.

This book is the most useful book on cleaning I have read. The author owns a cleaning business and shares tips on how to very efficiently and effectively both clean and de-clutter your home. He also discusses ways to keep the house from getting dirty to start with. I've used his tips for years now and have just re-read my copy of this and refreshed my memory [and got even more ideas!].

The author also writes very humorously, so it is an easy and fun book to read. Nothing too heavy but full of great ideas and suggestions. He is writing to an older generation perhaps, his ideas about housewives seem a bit out of date, but otherwise it is an enjoyable and extremely helpful book.

I always enjoy reading Don Aslett books. He is an excellent writer with a keen ability to keep the reader interested while imparting cleaning and organization wisdom. Having owned and managed businesses I thought I knew quite a few professional secrets, but Don was able to teach me even more secrets and give me the little push I needed to step things up a notch. One thing I find quite funny is that he only mentions wearing shoes while cleaning once in the book, which is so important, even at home. It can save you from slips, plus your feet will not be tired at the end of the day if you wear proper shoes. However he mentions time and time again to use a lambswool duster to remove cobwebs. I found that to be enduring and cute as obviously cobwebs are a pet peeve of his.

This book is ideal for people wishing to do a better job cleaning their house in less time, semi-professional and professional cleaners, as well as those looking to enter the cleaning business. The final chapter is so eloquent and from the heart it made the book worth so much more than just a cleaning book. Filled with humor, wisdom, and tried and true cleaning methods, this book is sure to delight all readers who care about a clean environment.

One thing I should add is that there is a newer edition of this book. For the few extra dollars, I would recommend the newer version for more up to date information.

If you've ever wondered how to remove a stain, clean your carpet, or de-lime your shower, it's because you don't have this book. I bought Aslett's book a few years ago and still keep it handy as a reference guide to cleaning procedures. His recommendations on getting the house to clean itself have saved me hours of housework.

This book is a must-have for aspiring magazine writers. I used it early in my career, and I credit Yudkin's no-nonsense, entertaining advice with much of my success.

This is a wonderful book for beginning writers and a refreshing, enlightening, and inspiring book for veteran writers. Sometimes, we get so busy with our writing careers that we forget to take the time to look at the beauty around us and write about it. This book will bring back the life in any tired, worn writer, while encouraging, and uplifting the person who wants to write but doesn't know where to begin!

This is a must have book for the beginning writer. Yudkin takes one idea for an article and twists and turns it into a half-dozen for you. Her suggestions generate idea after idea. Even if you're not a beginner, you'll find yourself refreshed and resurged to look for the unique way to sell your articles. I highly recommend Marcia Yudkin. She's a supreme marketeer.

I am a beginner freelance writer. I found this book the best among 8 other simple books about writing basics. This book starts with things, people & events close to you and how to make them as raw materials to headlines IDEAS. Also, it shows you how to transform ideas to pragraghs.

Then, it guides you in how to contact the editors and the keys to make them accept your articles by explaining how they think and what pressures that influence them.

It is a great book to start with. If you are a beginner freelance writer, don't miss this book. It encourage you a lot.

I am a beginner freelance writer. I found this book the best among 8 other simple books about writing basics. This book starts with things, people & events close to you and how to make them as raw materials to headlines IDEAS. Also, it show you how to transform ideas to pragraghs.

Then, it guides you in how to contact the editors and the keys to make them accept your articles by explaining how they think and what pressures that influence them.

It is a great book to start with. If you are a beginner freelance writer, don't miss this book. It encourage you a lot.

My review is simple. I like using Amazon because it is easy, fairly priced and the order comes quickly. If there is a mistake Amazon does not hassle you. What else would I want. It's all simple.

Robert R. Hilger
Princeton, NJ

I purchased this for my 10 year old daughter, hoping to get her interested in starting to read more nonfiction. She loved the book and read it all in three sittings. It must be very well written, because I saw her engrossed in it for hours at a time.

This is a must have for any historian. I loved the book. I was able to use it for my recent bibliography for college. There was a lot of little tidbits that I did not see elsewhere.

I learned that eleanor roosevelt was a very kind loving person who had a very odd child hood, she was known as the ugly duckling.Her mother did not treat her right and made eleanor afraid of everything.
Personaly, I think that this information was very helpful and would be grate to do a scool project on. this book had lots of pictures that gave wonderful information and were very deitailed, and showed me how to eleanors life was when she was a kid. I also learned that that eleanor loved her father very much, more that enything, and he loved her just as much. eleanor was an orffan at age ten because her whole family died of yellow fever. as I said before this book has a lot of amazing pictures [194]and about half of them showed eleanor and her father together.
I enjoued this book alot and I think you will to. the only thing is I would not try to read this book in one week because it is pretty long. Something I liked about this book is that it gives lots of details and is very factual. I also recomend this book if you like a traditional paper back book. I highly think this book is agreat book for a school project, like I did it on a biograghy. I hope you wil llearn as much as I did reading this amazing historical book, Eleanor roossevelt.

This Newbery Honor Book, subtitled "A Life of Discovery," covers Eleanor Roosevelt's life in 11 chapters and nearly 200 pages. The biography covers Roosevelt's childhood, education, courtship, marriage and motherhood, entrée into politics alongside her husband, and her humanitarian work independent of FDR. The text itself is straightforward and easy to read, presented in a scholarly fashion rather than the sort of fictionalized manner of some biographies. While certain events are dramatized, no dialog is invented - the words the reader encounters are those of the figures themselves, from journals, letters, and speeches. The best passages are the friendly and informative explanations offering children some background knowledge about the time, such as this account of courtship at the turn of the century, seamlessly woven into the chapter on "Cousin Franklin":

Of course, Eleanor and Franklin were never alone together. That would have been highly improper in those formal Victorian days. When Eleanor visited Hyde Park or Campobello, when she met Franklin in New York for lunch or tea, even they went riding in the Roosevelt carriage, a third person was always present. If a relative wasn't available, Eleanor's maid served as a chaperone (38).

These frequent explanations offer the reader a broader insight into time, describing the conventions of the era in order to later set Roosevelt's often unconventional views and activities in contrast. This treatment gives young readers a strong sense of why Roosevelt is worthy of special attention. The text is accompanied by more than 100 black and white photographs, both formal portraits and informal candid views of Roosevelt. Overall, the book focuses on Roosevelt's life as a public figure, though does not shy away from intensely personal matters such as her father's alcoholism, her adolescent insecurities, and even her husband's infidelity. In this way, Freedman manages to create a very intimate portrait of the woman herself and to make a larger-than-life figure, with a highly privileged background seem very real and accessible. Although Freedman's tone clearly indicates an admiration for his subject, the book does not idolize her, often drawing attention to her faults such as her lack of her tenderness as a mother when her children were very young (acknowledged by her son). The book concludes with a photo album, bibliography, and index. The book is readable from beginning to end and usable as a reference for exploration of specific events or issues from Roosevelt's life. Children will likely come to this book because of a classroom assignment, but in the process will certainly be entertained and inspired.