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The Business of Being a Writer (Chicago Guides to Writing, Editing, and Publishing)
by Jane FriedmanWriters talk about their work in many ways: as an art, as a calling, as a lifestyle. Too often missing from these conversations is the fact that writing is also a business. The reality is, those who want to make a full- or part-time job out of writing are going to have a more positive and productive career if they understand the basic business principles underlying the industry. The Business of Being a Writer offers the business education writers need but so rarely receive. It is meant for early-career writers looking to develop a realistic set of expectations about making money from their work or for working writers who want a better understanding of the industry. Writers will gain a comprehensive picture of how the publishing world works—from queries and agents to blogging and advertising—and will learn how they can best position themselves for success over the long term. Jane Friedman has more than twenty years of experience in the publishing industry, with an emphasis on digital media strategy for authors and publishers. She is encouraging without sugarcoating, blending years of research with practical advice that will help writers market themselves and maximize their writing-related income. It will leave them empowered, confident, and ready to turn their craft into a career.
Business of Digital Television
by Chris ForresterEssential reading for anyone involved in broadcasting. The Business of Digital Television presents an overview or the digital television industry. Chris Forrester examines the key technologies and developments of the marketplace, with comments on the future from leading industry experts. Written in an accessible style for the non-engineer, Forrester covers the issues that are most pertinent to strategic direction, providing, broadcasting professionals with essential facts, data and commentary in one single source.You will:Discover trends in digital TV technologyGain knowledge about the international marketplaceSee an analysis of the financial modelsUnderstand the importance of partnershipsFind out the key drivers for changeGain an insight into emerging technologies in the future
Business of Digital Television
by Chris ForresterEssential reading for anyone involved in broadcasting. The Business of Digital Television presents an overview or the digital television industry. Chris Forrester examines the key technologies and developments of the marketplace, with comments on the future from leading industry experts. Written in an accessible style for the non-engineer, Forrester covers the issues that are most pertinent to strategic direction, providing, broadcasting professionals with essential facts, data and commentary in one single source.You will:Discover trends in digital TV technologyGain knowledge about the international marketplaceSee an analysis of the financial modelsUnderstand the importance of partnershipsFind out the key drivers for changeGain an insight into emerging technologies in the future
The Business of Literary Circles in Nineteenth-Century America (Nineteenth-Century Major Lives and Letters)
by D. DowlingThis comprehensive study ranges from Irving's Knickerbockers, Emerson's Transcendentalists, and Garrison's abolitionists to the popular serial fiction writers for Robert Bonner's New York Ledger to unearth surprising convergences between such seemingly disparate circles.
The Business of Satirical Prints in Late-Georgian England
by James BakerThis book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.
The Business of Satirical Prints in Late-Georgian England
by James BakerThis book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.
The Business of Sports: A Primer for Journalists
by Mark ConradThis book explores the business aspect of sports with an orientation to those topics that are most relevant to journalists, providing the foundation for understanding the various parts of the sports business. Moving beyond sports writing, this text offers a distinct perspective on professional, college, and international sports organizations – structure, governance, labor issues, and other business factors within the sports community. Written clearly and compellingly, The Business of Sports includes cases (historical, current, and hypothetical) to illustrate how business concerns play a role in the reporting of sports. New features for the second edition include: updates throughout, including disciplinary policies throughout the major sports leagues expanded discussion of intellectual property issues and merchandising new sections on ethical issues in sports, aimed at journalists. Offering critical insights on the business of sports, this text is a required resource for sports journalists and students in sports journalism.
The Business of Sports: A Primer for Journalists
by Mark ConradThis book explores the business aspect of sports with an orientation to those topics that are most relevant to journalists, providing the foundation for understanding the various parts of the sports business. Moving beyond sports writing, this text offers a distinct perspective on professional, college, and international sports organizations – structure, governance, labor issues, and other business factors within the sports community. Written clearly and compellingly, The Business of Sports includes cases (historical, current, and hypothetical) to illustrate how business concerns play a role in the reporting of sports. New features for the second edition include: updates throughout, including disciplinary policies throughout the major sports leagues expanded discussion of intellectual property issues and merchandising new sections on ethical issues in sports, aimed at journalists. Offering critical insights on the business of sports, this text is a required resource for sports journalists and students in sports journalism.
The Business of Sports: Off the Field, in the Office, on the News
by Mark ConradThe Business of Sports provides a comprehensive foundation of the economic, organizational, legal and political components of the sports industry. Geared for journalism, communication and business students, but also an excellent resource for those working in sports, this text introduces readers to the ever-increasing complexity of an industry that is in constant flux. Now in its third edition, the volume continues to offer a wealth of statistics and case studies, up to date with the newest developments in sports business and focused on cutting-edge issues and topics, including the many changes in international sports and the role of analytics in decision-making and tax rules that have a major effect on athletes and teams.
The Business of Sports: Off the Field, in the Office, on the News
by Mark ConradThe Business of Sports provides a comprehensive foundation of the economic, organizational, legal and political components of the sports industry. Geared for journalism, communication and business students, but also an excellent resource for those working in sports, this text introduces readers to the ever-increasing complexity of an industry that is in constant flux. Now in its third edition, the volume continues to offer a wealth of statistics and case studies, up to date with the newest developments in sports business and focused on cutting-edge issues and topics, including the many changes in international sports and the role of analytics in decision-making and tax rules that have a major effect on athletes and teams.
The Business of the Novel: Economics, Aesthetics and the Case of Middlemarch (Literary Texts and the Popular Marketplace)
by Simon R FrostThis study shows how aesthetics and economics have been combined in a great work of literature. Frost examines the history of Middlemarch’s composition and publication within the context of Victorian demand, then goes on to consider the interpretation, reception and consumption of the book.
The Business of the Novel: Economics, Aesthetics and the Case of Middlemarch (Literary Texts and the Popular Marketplace #1)
by Simon R FrostThis study shows how aesthetics and economics have been combined in a great work of literature. Frost examines the history of Middlemarch’s composition and publication within the context of Victorian demand, then goes on to consider the interpretation, reception and consumption of the book.
The Business of Words: Wordsmiths, Linguists, and Other Language Workers
by Crispin ThurlowThe Business of Words examines the practices of ‘high-end’ language workers or wordsmiths where we find words being professionally designed, institutionally managed, and, inevitably, objectified for status and profit. Aligned with existing work on language and political economy in critical sociolinguistics and discourse studies, the volume offers a novel, complementary insight into the relatively elite practices of language workers such as advertisers, dialect coaches, publishers, judges, translators, public relations officers, fine artists, journalists, and linguists themselves. In fact, the book considers what academics might learn about language from other wordsmiths, opening a space for ‘dialogue’ between those researching language and those who also stake a claim to linguistic expertise and a way with words. Bringing together an array of leading international scholars from the cognate fields of discourse studies, sociolinguistics, and linguistic anthropology, this book is an essential resource for researchers, advanced undergraduate, and postgraduate students of English language, linguistics and applied linguistics, communication and media studies, and anthropology.
The Business of Words: Wordsmiths, Linguists, and Other Language Workers
by Crispin ThurlowThe Business of Words examines the practices of ‘high-end’ language workers or wordsmiths where we find words being professionally designed, institutionally managed, and, inevitably, objectified for status and profit. Aligned with existing work on language and political economy in critical sociolinguistics and discourse studies, the volume offers a novel, complementary insight into the relatively elite practices of language workers such as advertisers, dialect coaches, publishers, judges, translators, public relations officers, fine artists, journalists, and linguists themselves. In fact, the book considers what academics might learn about language from other wordsmiths, opening a space for ‘dialogue’ between those researching language and those who also stake a claim to linguistic expertise and a way with words. Bringing together an array of leading international scholars from the cognate fields of discourse studies, sociolinguistics, and linguistic anthropology, this book is an essential resource for researchers, advanced undergraduate, and postgraduate students of English language, linguistics and applied linguistics, communication and media studies, and anthropology.
Business Writing for Technical People: The most effective ways to get your message across
by Carrie MarshallTechnically-minded people can struggle with business writing and many businesses get it wrong, losing their readers in avalanches of acronyms and jungles of technical jargon. It doesn’t have to be that way. In this book you’ll discover how to give your communication skills an upgrade, exploring the tips and tricks that will enable you to write effectively and persuasively for any audience. You’ll discover how to write for maximum impact and how to make your enthusiasm even more infectious.
Business Writing for Technical People: The most effective ways to get your message across
by Carrie MarshallTechnically-minded people can struggle with business writing and many businesses get it wrong, losing their readers in avalanches of acronyms and jungles of technical jargon. It doesn’t have to be that way. In this book you’ll discover how to give your communication skills an upgrade, exploring the tips and tricks that will enable you to write effectively and persuasively for any audience. You’ll discover how to write for maximum impact and how to make your enthusiasm even more infectious.
But Can I Start a Sentence with "But"?: Advice from the Chicago Style Q&A (Chicago Guides to Writing, Editing, and Publishing)
by The University of Chicago Press Editorial StaffQ. Is it “happy medium” or “happy median”? My author writes: “We would all be much better served as stewards of finite public funds if we could find that happy median where trust reigns supreme.” Thanks! A. The idiom is “happy medium,” but I like the image of commuters taking refuge from road rage on the happy median. Q. How do I write a title of a song in the body of the work (caps, bold, underline, italics, etc.)? Example: The Zombies’ “She’s Not There” looped in his head. A. Noooo! Now that song is looping in my head (“but it’s too late to say you’re sorry . . .”). Use quotation marks. Thanks a lot. Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years. But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives. Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.) Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.
But Can I Start a Sentence with "But"?: Advice from the Chicago Style Q&A (Chicago Guides to Writing, Editing, and Publishing)
by The University of Chicago Press Editorial StaffQ. Is it “happy medium” or “happy median”? My author writes: “We would all be much better served as stewards of finite public funds if we could find that happy median where trust reigns supreme.” Thanks! A. The idiom is “happy medium,” but I like the image of commuters taking refuge from road rage on the happy median. Q. How do I write a title of a song in the body of the work (caps, bold, underline, italics, etc.)? Example: The Zombies’ “She’s Not There” looped in his head. A. Noooo! Now that song is looping in my head (“but it’s too late to say you’re sorry . . .”). Use quotation marks. Thanks a lot. Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years. But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives. Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.) Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.
But Can I Start a Sentence with "But"?: Advice from the Chicago Style Q&A (Chicago Guides to Writing, Editing, and Publishing)
by The University of Chicago Press Editorial StaffQ. Is it “happy medium” or “happy median”? My author writes: “We would all be much better served as stewards of finite public funds if we could find that happy median where trust reigns supreme.” Thanks! A. The idiom is “happy medium,” but I like the image of commuters taking refuge from road rage on the happy median. Q. How do I write a title of a song in the body of the work (caps, bold, underline, italics, etc.)? Example: The Zombies’ “She’s Not There” looped in his head. A. Noooo! Now that song is looping in my head (“but it’s too late to say you’re sorry . . .”). Use quotation marks. Thanks a lot. Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years. But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives. Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.) Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.
But Can I Start a Sentence with "But"?: Advice from the Chicago Style Q&A (Chicago Guides to Writing, Editing, and Publishing)
by The University of Chicago Press Editorial StaffQ. Is it “happy medium” or “happy median”? My author writes: “We would all be much better served as stewards of finite public funds if we could find that happy median where trust reigns supreme.” Thanks! A. The idiom is “happy medium,” but I like the image of commuters taking refuge from road rage on the happy median. Q. How do I write a title of a song in the body of the work (caps, bold, underline, italics, etc.)? Example: The Zombies’ “She’s Not There” looped in his head. A. Noooo! Now that song is looping in my head (“but it’s too late to say you’re sorry . . .”). Use quotation marks. Thanks a lot. Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years. But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives. Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.) Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.
But Have You Read the Book?: 52 Literary Gems That Inspired Our Favorite Films (Turner Classic Movies)
by Kristen LopezFor film buffs and literature lovers alike, Turner Classic Movies presents an essential guide to 52 cinema classics and the literary works that served as their inspiration. &“I love that movie!&” &“But have you read the book?&” Within these pages, Turner Classic Movies offers an endlessly fascinating look at 52 beloved screen adaptations and the great reads that inspired them. Some films, like Clueless—Amy Heckerling&’s interpretation of Jane Austen&’s Emma—diverge wildly from the original source material, while others, like One Flew Over the Cuckoo's Nest, shift the point of view to craft a different experience within the same story. Author Kristen Lopez explores just what makes these works classics of both the page and screen, and why each made for an exceptional adaptation—whether faithful to the book or exemplifying cinematic creative license. Other featured works include:Children of Men · The Color Purple · Crazy Rich Asians · Dr. No · Dune · Gentlemen Prefer Blondes · Kiss Me Deadly · The Last Picture Show · Little Women · Passing · The Princess Bride · The Shining · The Thin Man · True Grit · Valley of the Dolls · The Virgin Suicides · Wuthering Heights
Butler Plays 2: Airbag; I'll Be the Devil; Faces in the Crowd; Juicy Fruits; 69; Do It! (Contemporary Dramatists)
by Leo ButlerButler Plays: Two brings together a selection of Leo Butler's work, currently both published and previously unpublished, covering the years 2007 to 2013. It showcases his incredible variety in style and tone, and brings together some of his best-loved works alongside some of his lesser known pieces.Airbag (Royal Court, Rough Cuts, 2007) an old woman is lying on her death bed, imagining that she is being terrorised by gorillas. Butler's play is an exploration of death and the dying.I'll Be The Devil (RSC/Tricycle Theatre, 2008): With a poetic fearlessness, Leo Butler looks at what happens when a brutal foreign power is in intimate and callous contact with the primitive heart of an ancient society. Faces in the Crowd (Royal Court Theatre, 2008): Faces in the Crowd is a darkly comic play that offers a unique insight into twenty-first century London and the debts we accrue in the wake of seeking out our ambitions. Juicy Fruits (Paines Plough and Òran Mór, 2011): a one-act comedy set in a coffee shop in which two old friends from university meet again after many years.69 (Natural Shocks Theatre Company; Pleasance, 2012): a series of 69 short vignettes, all on the subject of sex, offering a glimpse on a whole range of issues surrounding sexuality. Do It! (Royal Court, Open Court Season, 2013) is an unsettling journey through the secrets and innermost thoughts of a group of pedestrians, unwittingly watched over by a violent force. The volume includes an introduction by the playwright.
Butler Plays 2: Airbag; I'll Be the Devil; Faces in the Crowd; Juicy Fruits; 69; Do It! (Contemporary Dramatists)
by Leo ButlerButler Plays: Two brings together a selection of Leo Butler's work, currently both published and previously unpublished, covering the years 2007 to 2013. It showcases his incredible variety in style and tone, and brings together some of his best-loved works alongside some of his lesser known pieces.Airbag (Royal Court, Rough Cuts, 2007) an old woman is lying on her death bed, imagining that she is being terrorised by gorillas. Butler's play is an exploration of death and the dying.I'll Be The Devil (RSC/Tricycle Theatre, 2008): With a poetic fearlessness, Leo Butler looks at what happens when a brutal foreign power is in intimate and callous contact with the primitive heart of an ancient society. Faces in the Crowd (Royal Court Theatre, 2008): Faces in the Crowd is a darkly comic play that offers a unique insight into twenty-first century London and the debts we accrue in the wake of seeking out our ambitions. Juicy Fruits (Paines Plough and Òran Mór, 2011): a one-act comedy set in a coffee shop in which two old friends from university meet again after many years.69 (Natural Shocks Theatre Company; Pleasance, 2012): a series of 69 short vignettes, all on the subject of sex, offering a glimpse on a whole range of issues surrounding sexuality. Do It! (Royal Court, Open Court Season, 2013) is an unsettling journey through the secrets and innermost thoughts of a group of pedestrians, unwittingly watched over by a violent force. The volume includes an introduction by the playwright.
Butterflies and Sweaty Palms: 25 sure-fire ways to speak and present with confidence
by Judy AppsIf you have ever carried a lucky talisman in your pocket to give yourself courage before a big event then carry this book instead. Based on Neuro-Linguistic Programming (NLP), the ground-breaking solutions to performance anxiety in this book will carry you through the most daunting experience of public speaking.The exercises are simple and highly effective. Even if you have suffered intolerably from performance nerves in the past this book will enable you to perform with passion and determination and wow your audience. How many times have you picked up a self-help book and thought "It's all very well but it won't work for me." This time the book meets you where you are and helps you to succeed by approaching the problem on many different levels.Judy inspires and encourages you with her descriptions and anecdotes. There are exercises that you can easily do at home and which are interesting and fun to do. The exercises are diverse so that issues are tackled in a variety of different ways. You can do the exercises either alone or with other people. The book is brief and easy to read, the techniques highly practical and the methods simple yet profound.
The Butterfly Hatch: Literary Experience in the Quest for Wisdom: Uncanonically Seating H.D.
by Richard VytniorguSome of H.D.s most oft-quoted lines have to do with the meaning and value of words; they are conditioned to hatch butterflies. Yet rather than seeking merely to understand how H.D. represented the meaning and value of words, this volume uses the butterfly hatch as a metaphor for thinking more broadly about the capacity of literary experience to hatch transformed persons butterflies in quest of wisdom in university English studies. Dislodging H.D. from her usual modernist context, this book positions her as a thinker and reads her autobiographical prose and recently published work of the 1940s for its ability to offer new insights into such pertinent and interconnected areas as literary contexts, imagination, and personal and social transformation. H.D. has, in her own words, always been uncanonically seated, resistant to rigid classification; the texture of her work celebrates internal, existential resonances that evidence the emergence of personality. The author capitalizes on this facet of H.D.s work and uncanonically seats her in conversation with the neglected literary theorist, Louise Rosenblatt (19042005), whose transactional contribution uniquely fuses critical theory, politics, philosophy, and educational vision. This book synthesizes the work of H.D. and Rosenblatt to create an emergent personalist theory of literary experience in the quest for wisdom, crystallizing links between philosophical anthropology, aesthetics, pedagogy, and the politics of human relations. Benefiting from access to unpublished material housed at Columbia, New York, and Yale universities, Vytniorgu combines analysis and theorizing to offer a significant, pedagogically-inflected intervention in literary studies, arguing that university English studies must incorporate critical and pedagogical vantages which open a window on wisdom as well as knowledge.