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Martin Partington discussed a range of careers in his podcasts yesterday. Today, he tackles how new legal issues and developments in the professional environment have in turn changed organizational structures, rules and regulations, and aspects of legal education.
Co-operative Legal Services: An interview with Christina Blacklaws
Co-operative Legal Services was the first large organisation to be authorised by the Solicitors Regulatory Authority as an Alternative Business Structure. In this podcast, Martin talks to Christina Blacklaws, Head of Policy of Co-operative Legal Services.
The role of chartered legal executives: An interview with Diane Burleigh
The Chartered Institute of Legal Executives sets standards for and regulates the activities of legal executives, who play an important role in the delivery of legal services. In this podcast Martin talks with Diane Burleigh, the Chief Executive of CILEX, about the challenges facing the legal profession and the opportunities provided for Legal Executives in the rapidly developing legal world.
Educating Judges and the Judicial College: An interview with Lady Justice Hallett
The Judicial College was created by bringing together separate arrangements that had previously existed for training judicial office-holders in the courts (the Judicial Studies Board) and Tribunals Service (through the Tribunals Judicial Training Group). In this podcast Martin talks to its Chairman, Lady Justice Hallett, about the reasons for the change and ways in which the College is developing new ideas about judicial education.
This new volume already has five poems sticky-noted for sharing, and dozens of others that made me nod and smile. In times when we have to keep stuff like this in mind, it is good to have a place to go where our profession is valued, understood, and truly celebrated. This is a book I will turn to and thumb through many times throughout the school year, in good times and when I'm worn down and worn out.
Plus, how much fun is it to find my Poetry Month pal, Kevin Hodgson (Kevin's Meandering Mind, @dogtrax), right there on pages 18-20 in the section "Relentless Optimism" sharing "What Teachers Make" by Taylor Mali (who wrote the introduction to the book)?!?!
In his introduction, Mali writes about still getting a feeling of "imminence" every fall, even though it's been since 2000 that teaching was his day job. He continues,
"For years I couldn't figure out why as a poet I still felt this way. But it makes perfect sense. Because on a very basic level, being a poet and being a teacher are inextricably linked. Whether teaching or writing, what I really am doing is shepherding revelation. I am the midwife to epiphany."
Today is our first day day with students. Nothing could be better than approaching this day as "the midwife to epiphany."
Please welcome Lara Morgan, author of Betrayal, to the virtual offices this morning! I asked Lara to share a list of her essential items to have a really productive day. I really wish I could try #3 here!
Top 5 items for a productive day…. by Lara Morgan
1. Tea. Lots of it.
3. Tim tams
4. Twitter free
5. Toddler absent
As you can see the above list is quite wishful. Tea yes I always have but time?! Perhaps I should have added Tardis so I could regain some and as a stay home mum Twitter is often what keeps me sane – as in there are other adults out there! So generally at the moment productivity is not high. And there are NEVER enough tim tams.
About the book:
From fantasy writer Lara Morgan comes the second in her engrossing, enchanting, exciting Twins of Saranthium trilogy, perfect for curbing Game of Thrones withdrawals.
Shaan and Tallis have escaped from the fallen god, Azoth, but his dark shadow stretches over the enslaved people of the Wild Lands and the terrifying army of human-serpent warriors. War is coming, but the Council of Nine turn from the twins and their tales of Azoth’s menace, focusing instead on a war on the Free Lands.
Meanwhile, the Four Lost Gods have awoken, ready to reclaim the Birthstone currently in Azoth’s possession. But rather than the saviours Shaan and Tallis needed, the Four begin to exert terrible control over the people of Saranthium. With Tallis struggling to control the growing power within, and Shaan attempting to resist the pull of Azoth, the twins are under assault from all sides. Victory may still be possible, but only through a devastating act of betrayal.
I’ve been in a manga kind of a mood recently. I’ve been reading some new series that caught my attention, as well as trying to catch up on some of my favorites that I’ve fallen behind on. Skip*Beat! is one of those. Kyoko is a fun protagonist; she’s a good girl who had her heart stomped on by the guy she loved, and now she’s out for revenge. Sho is an up and coming celebrity, and in order to get back at him, Kyoko is determined to become more popular than he is. When she’s in a rage, she’s possessed by her anger, which causes dramatic, and usually, hilarious results.
Now that we are quite a ways into the series, the tables have turned on Sho. Now he has a crush on Kyoko, but he won’t come out and tell her directly (as is the shoujo way!), nor will she give him the time of day. Kyoko just wants her revenge, revenge, revenge! She’s even gotten over her earlier animosity for Ren, one of Sho’s rivals. The enemy of my enemy is my friend, right? Only Ren has developed feelings for the stubborn Kyoko and her never say die spirit, but she’s so oblivious she doesn’t even notice. Just like with Sho, all of her focus is on becoming a success in show biz.
In volume 22, Kyoko is having a hard time stepping into her latest role. She’s confused about what the director wants, and she’s holding up shooting with her inability to immerse herself into her new character. With some help from Ren, her acting mojo is recharged and viola! She’s become Natsu, a high school bully, much to the dismay of Chiori, one of her cast mates. Chiori is resentful of Kyoko’s success, and she wants desperately for her to fail. Chiori’s career is stuttering, and the intense competition she feels for Kyoko isn’t helping her.
I thought that volume 22 dragged a bit, but volume 23 cranked up the drama and the action that I love this series for. Kyoko and Chiori’s feud becomes explosive. Chiori schemes against Kyoko, almost causing her great bodily harm. In return, Kyoko pushes Chiori to deliver the very best performance she’s capable of. Their competition is intense, and I felt really bad for the actress who got caught up in the middle of it.
Volume 23 closes out with the beginning of a fun Valentine’s Day story, which I’m looking forward continuing in the next installment of the series.
Is there such a thing as being too good? With Ren’s help, Kyoko finally gets into her new character. But when she shows up on set and wows the crew with her new spin on the old bully role, it sends some of her costars over the edge! Kyoko’s used to dealing with her own demons, but can she stand up to someone else’s?!
Chiori’s rage threatens the whole production when she lashes out and hurts Kyoko. Kyoko is used to overcoming obstacles, and she uses her injury as an excuse to push Chiori into exploring her acting. But Chiori has a traumatic past. Will focusing on the dark side of her character bring it all rushing back?!
A Piece of Cake by LeUyen Pham reminds me of a cheerier, more colorful version of Candace Fleming's wonderful Clever Jack Takes the Cake, illustrated by G. Brian Karas. In both Fleming and Pham's books a friend bakes a birthday cake for another friend and, in the process of delivering the cake things go awry. With a flock of crows, an ogre and a princess, Fleming's book has a definitely has
VIZ UnMasked - or, "It's not all over until the fat lady sings..."
The ever-irreverent VIZ team are promoting their Lakes Festival exhibition plans with this satirical take on the British Library's recent Comics UnMasked poster by Jamie Hewlett. Image: Graham Dury/Simon Thorp
Kendal, UK, 18th August 2014: Hot on the heels of the British Library's "Comics UnMasked" exhibition comes the Lakes International Comic Art Festival's very own homage to art and anarchy in the UK - "VIZ Unmasked".
VIZ Unmasked will, amongst other things, reveal the dark art of how a VIZ comic is made through a fully interactive, animatronic, state-of-the-art museum experience.
"It's been a long-held ambition by the VIZ team to create and present this unique installation," notes Festival Director Julie Tait, "and they are delighted that LICAF has enabled this dream to be realised.
"I suggested they could do a spoof poster of Comics Unmasked," Julie says of the tongue-in-cheek promotional image from Graham Dury and Simon Thorp. "They went for it – I just hope Comics UnMasked's co-curator Paul Gravett and artist Jamie Hewlett appreciate it!"
The exhibition will form a major part of a new, and still emerging,"Pop Up" Fringe over the Festival weekend (17th - 19th October 2014), aiming to reinforce its distinctiveness and respond the creative ideas of its supporters and collaborators.
VIZ have also lent their name to this year's special Comic Festival beer inspired by their long-running Biffa Bacon, the label art drawn by Graham Dury and Simon Thorp. The beer will be on sale during the Festival weekend at select outlets, including the Brewery Arts Centre, Castle Green, Wetherspoons, Ruskins and still-to-be-revealed venue for the "Pop Up Fringe".
Tickets for all the events at the Lakes International Comic Art Festival (17th - 19th October) are on sale now. For the full guest list, details of events and exhibitions and bookings visit: www.comicartfestival.com
About the 2014 Lakes International Comic Art Festival
The Lakes International Comic Art Festival (17th – 19th October 2014) is a new kind of comic art event in the UK. Modelled on a European-style festival it aims to take over the market town of Kendal, on the edge of the Lake District, with comic art presenting the widest range of genres. Events include a 24 Hour Comic Marathon, children’s comic workshops, talks, signings, Great War in Comics art exhibition and a Comics Fair.
The huge line up of guests at this year's Lakes International Comic Art Festival include the acclaimed comics creator and newspaper strip artist Nick Abadzis (author of Laika); Walking Dead artist Charlie Adlard; Storm Dogs and UNITY artist Doug Braithwaite; Fables and Sandman artist Mark Buckingham; The Mire and Wolves creator Becky Cloonan; Alec and From Hell artist Eddie Campbell; veteran publisher Dez Skinn; Watchmen co-creator Dave Gibbons; digital comics pioneer Scott McCloud; Japanese artist Junko Mizuno; Drowntown co-creator Robbie Morrison; leading US comics writer Gail Simone; the creator of the multi-award winning BoneJeff Smith; and Grandville and Luther Arkwright author Bryan Talbot, one of the Festival's patrons alongside Sean Phillips and Mary Talbot and Emma Vieceli, will also join other comic creators for Kendal's second comics extravaganza.
The Patrons of the Festival are comic creators Sean Phillips, Bryan Talbot, Mary Talbot and Emma Vieceli.
The Festival is supported using public funding by the National Lottery through Arts Council England, with funding from South Lakeland District Council and Kendal Town Council working in partnership with the Brewery Arts Centre and Kendal College.
If you enjoy shifter books, then don’t miss this one! Do be warned, this is not a paranormal romance. There is a tad of romance inside, but it’s not the central part of the story. I’d call this more military in nature, but also deals a lot with Rick dealing with what/who he is. Lots of action, fighting, guns, and a kick ass female agent included too. Due to subject matter, language and violence I’d rate this for 18+.
It is amazing how quickly a phone call can interrupt your life, even when you’re a werewolf. Rick Keller hangs up from the unwanted call, but the shadowy organization he once belonged to doesn’t take such an answer lightly. Waking up collared and caged by MONIKER is a quick way to learn retirement isn’t always permanent. Death will be if he doesn’t accept their assignment.
Keller and his new team follow a group of human traffickers on a thin trail across the globe. Their only hope is in a man who hasn’t had much practice being a werewolf in a really long time, a sadistic agent who loves making dog jokes, and a beautiful operative who is better with guns than relationships.
If being forced back into service wasn’t bad enough, he quickly discovers they have many new experiments to try out on their pet wolf. Even worse, MONIKER now isn’t the only one who knows his secret.
Hopefully an old dog can learn some new tricks, especially if he wants to stay alive.
Rachel A. Brune graduated from the NYU Tisch School of the Arts in May 2000, and was immediately plunged into the low-stakes world of entry-level executive assistant-ship. Her unexpected journey out of that world and into the military is chronicled in her self-published book Echoes and Premonitions. After five years as a combat journalist, including two tours in Iraq, and a brief stint as a columnist for her hometown newspaper, she attended graduate school at the University at Albany in NY, where she earned her MA in Political Communication, and her commission as a second lieutenant in the military police corps. Although her day job has taken in her in many strange, often twisted directions, Rachel continues to write and publish short fiction. She released her first novel, Soft Target, in early 2013. She blogs her thoughts about reading and the writing life at http://www.infamous-scribbler.com.
The man behind the weapon was a ghost, a black tactical suit concealing his form, expensive scope mounted on some sort of rifle. I howled again and lurched at him, brought down short by another surge of the change. I struggled to remain upright but found myself on my knees.
Another man appeared to the side, shining a bright, piercing strobe light at my eyes, disorienting me as I tried to turn to face the new threat, my traitorous body rendering my reactions unreliable.
I scrambled to get my feet under me, but the final throes of the change robbed the ground from me. I flailed my paws against the last remnants of my work clothes, now torn and scattered on the ground.
I heard the explosion of gases from the chamber of the first man’s rifle a split second after the bullet pierced my side. I yelped and fell sideways, trying to relieve the pressure. I rolled to all fours and lunged toward the man, intent on relieving the pain by ripping the screams from his throat.
He shot again and again as I reached him, bowling him over and aiming for the soft pieces exposed to my grip.
Instead of soft viscera beneath my teeth, the next sensation I felt came as intense pain, which slowed and disjointed my movements. I raised my head, snapping and gnarling in vain against the folds of the net suddenly enveloping me. Ignoring the second man–stupid mistake. From the burning the lines of the net raised against my hide, I could tell the wires were laced with silver filaments.
The man with the rifle scrambled away from me. I let him go, rolling on the ground, trying to escape the clutching net.
“He’s a big one.” The second man spoke the words, looking down on me from an impossible height as the pain began to outweigh the panic. I could feel the silver working against my struggling.
“He always was.” The first man hocked and spat. It smelled of Copenhagen. “It’s going to be a bitch dragging him down to the truck.”
The words made no sense. I listened, but could not understand.
“If we let you up, do you promise to be a good doggie?” The man with the rifle prodded the barrel into my side.
I growled, but it was mostly wishful thinking, the energy from the night and the change suddenly sapped by the ensilvered net. I lay on my side and simply lolled.
“Good boy.” The man kept his rifle trained at me as his partner knelt down and fiddled with the edge of the net. Grasping a loop from the edge, he pulled. The line must have been attached in some ingenious way so when he pulled on it, it contracted the net into a small, compact circle around my neck.
“Come on.” The second man jerked at my neck, holding the line as a leash. “I’m not carrying you down this hill in the dark.”
The net continued to burn against my neck as he dragged me to my feet. Head hanging, I padded after him through the snow.
Kleptoplasty describes a special type of endosymbiosis where a host organism retain photosynthetic organelles from their algal prey. Kleptoplasty is widespread in ciliates and foraminifera; however, within Metazoa animals (animals having the body composed of cells differentiated into tissues and organs, and usually a digestive cavity lined with specialized cells), sacoglossan sea slugs are the only known species to harbour functional plastids. This characteristic gives these sea slugs their very special feature.
The “stolen” chloroplasts are acquired by the ingestion of macro algal tissue and retention of undigested functional chloroplasts in special cells of their gut. These “stolen” chloroplasts (thereafter named kleptoplasts) continue to photosynthesize for varied periods of time, in some cases up to one year.
In our study, we analyzed the pigment profile of Elysia viridis in order to evaluate appropriate measures of photosynthetic activity.
The pigments siphonaxanthin, trans and cis-neoxanthin, violaxanthin, siphonaxanthin dodecenoate, chlorophyll (Chl) a and Chl b, ε,ε- and β,ε-carotenes, and an unidentified carotenoid were observed in all Elysia viridis. With the exception of the unidentified carotenoid, the same pigment profile was recorded for the macro algae C. tomentosum (its algal prey).
In general, carotenoids found in animals are either directly accumulated from food or partially modified through metabolic reactions. Therefore, the unidentified carotenoid was most likely a product modified by the sea slugs since it was not present in their food source.
Pigments characteristic of other macro algae present in the sampling locations were not detected inthe sea slugs. These results suggest that these Elysia viridis retained chloroplasts exclusively from C. tomentosum.
In general, the carotenoids to Chl a ratios were significantly higher in Elysia viridis than in C. tomentosum. Further analysis using starved individuals suggests carotenoid retention over Chlorophylls during the digestion of kleptoplasts. It is important to note that, despite a loss of 80% of Chl a in Elysia viridis starved for two weeks, measurements of maximum capacity of performing photosynthesis indicated a decrease of only 5% of the photosynthetic capacity of kleptoplasts that remain functional.
This result clearly illustrates that measurement of photosynthetic activity using this approach can be misleading when evaluating the importance of kleptoplasts for the overall nutrition of the animal.
Finally, concentrations of violaxanthin were low in C. tomentosum and Elysia viridis and no detectable levels of antheraxanthin or zeaxanthin were observed in either organism. Therefore, the occurrence of a xanthophyll cycle as a photoregulatory mechanism, crucial for most photosynthetic organisms, seems unlikely to occur in C. tomentosum and Elysia viridis but requires further research.
A burglar broke into a house one night. He shined his flashlight around, looking for valuables when a voice in the dark said, ‘Jesus knows you’re here.’ He nearly jumped out of his skin, clicked his flashlight off, and froze. When he heard nothing more, after a bit, he shook his head and continued.
Just as he pulled the stereo out so he could disconnect the wires, clear as a bell he heard a voice....say, ‘Jesus is watching you.’ Freaked out, he shined his light around frantically, looking for the source of the voice.
Finally, in the corner of the room, his flashlight beam came to rest on a parrot. ‘Did you say that?’ he hissed at the parrot. ‘Yep’, the parrot confessed, then squawked, ‘I’m just trying to warn you that he is watching you.’ The burglar relaxed. ‘Warn me, huh? Who in the world are you?’ ‘I'm Moses.’ replied the bird. ‘Moses?’ the burglar laughed. ‘What kind of people would name a bird Moses?’ ‘The same kind of people that would name their Rottweiler Jesus.’
Today's WOW post is from the archives, an article from the lovely Tahereh Mafi, New York Times and USA Today bestselling author of the Shatter Me series. It was written before her smash success -- and in case the best-selling status didn't give you a hint of the magnitude of that success so far, it includes foreign rights have sold in 25+ territories, film rights optioned by 20th Century Fox, and a marriage to Ransom Riggs, author of Miss Peregrine's Home for Peculiar Children.
This post was written before Shatter Me, and for all of you -- us -- who are still struggling, who still doubt, who face the blank page and wonder whether a current piece of work is worth it, read on. (Hint: Yes, it is! : ) Believe in yourselves!)
the path to publication is paved by perseverance. it’s full of mistakes and inadequacies; it’s bursting with emotion and fleeting moments of hope and despair. it’s the manifestation of your blood, sweat and tears on paper. getting published is about taking an infinite number of chances. it’s about taking a deep breath and swallowing the burn of a million tears that have somehow fallen down your throat. it’s about waking up every morning to an inbox full of rejection and having your heart explode in your hands multiple times a day. it’s about being vulnerable.
you finally allow someone to take a look at your stories only to have them rip it apart. you finally land an agent only to discover the hard work has just begun. you finally manage to sell a book only to realize you feel even tinier than you did before.
when you get a small yes of possibility from someone willing to take a chance on you. when you get positive feedback from a beta reader, an agent, a highly-regarded friend. when you hear from readers, fellow writers, strangers you never knew existed.
somehow all the pain is worth it.
my journey toward publication has barely started and i’ve already done everything wrong. i wrote my manuscripts wrong. i edited wrong. i queried wrong. i waited wrong. i made every possible mistake but i was committed to never giving up. i discovered that mistakes are okay when you learn from them, and bad manuscripts are just fine if you learn to laugh at them later. i knew that if the first book didn’t work i would write a second one. and if the second one didn’t work i would write a third. nothing was a waste of time. not the fourth book, not the fifth or the sixth. not the time i addressed a male agent by a woman’s name, not the times i thought “editing” meant “looking for typos”, and certainly not the hours i spent hunched over my computer with imaginary friends and places painting my world into something i never knew i could see.
my first novel taught me how to write.
my second novel taught me how to edit.
my third novel taught me how to write elegantly.
my fourth novel taught me how to write commercially.
my fifth novel taught me how to combine all four.
my sixth novel taught me how to write a book.
it’s easy to lose hope. it’s easy to look around and compare, to feel deficient. but the truth is that we’re no different, you and i. i might have an agent and i obviously don't like proper capitalization but that doesn't make me special. it doesn't make me cool. it doesn't make me a better person. it doesn't erase the fact that i had to battle the query-wars every single day for too long. it doesn't erase the countless rejections i've received and will continue to receive for the rest of my life.
we're all human-beings aspiring to live up to our potential, aspiring to live up to our goals for the future. and i hope that when you look at your manuscript you will not doubt yourself. because you can never wonder if it's worth it, this novel you are writing. you can never wonder if you are wasting your time. because every single moment is a moment you are learning, growing, maturing, and cultivating your mind. this, what you are doing? is not a waste.
because you know what it means to persevere. because you are made of momentum. because you will be unbelievable.
never give up.
i'm cheering for you.
Find Tahereh: Website | Twitter Ready for a giveaway? How about a full set of the Shatter Me trilogy signed by Tahereh?
I have a question regarding submitting my work to literary agents. I write juvenile horror novellas for ages 8-14 (I like to think between Goosebumps & Twilight Zone) and what I'm finding is that several agents don't represent novella writers. Is this pretty standard or am I unfortunately finding only those that don't?
You're confused about what you're writing. You're not writing novellas. You're writing chapter books. Novellas are shorter than novels, but that only applies to adult trade books.
You're writing for kids. That means you look for agents who say they are looking for MG (middle grade) or YA (young adult)
You describe your work as scary chapter books akin to R.L. Stine.
And I'm guessing you don't belong to SCBWI because you didn't know this. Join. Learn. It's a resource you'll come to value a great deal.
Majoring in English always seemed to be a very puzzling thing for those around me. It took me five and a half years to finish my undergraduate degree, and I probably couldn’t count the number of times this question came up. I also couldn’t count the number of ways I’ve responded. Writer. Editor. Book publicist. Agent. Designer. All noble causes, all professions inhabited by creative and brilliant people. But somewhere, in answering that penetrating question—with all its strength of will in making me feel like my degree would be ultimately useless—I got lost in the possible options and forgot to think about the most important thing: what did I want to do in the first place?
You learn early that being a writer isn’t considered a “realistic” career. Going into editing, that can work. But writing, being an author, not so much. I’m still fairly certain that the Grade 11 Careers class I was forced to take (a Canadian rite of passage) existed just to tell me that my dream jobs (at the time: writer, musical theatre performer, etc.) were impractical, and that I was unreasonable.
I can still see my teacher rolling her eyes.
What they don’t tell you in Careers class is that it’s probably not that much more impossible to become a writer than it is to become an editor in this economic climate. Becoming a writer who creates a six-figure novel? Not so likely. But becoming a writer at all? It’s hard, it takes passion and dedication—but it does happen. And it isn’t really less possible than being an editor. But we’re told it is. We’re told as young writers that the publishing industry is the smarter, easier choice. Not only is that not necessarily true, but it also belittles the work done by the incredible, driven people in the industry. There are publishers who spend their entire lives making sure other peoples’ books do well. People who work in the industry are often ambitious and passionate and…well. Practically superhuman, in some cases.
But still, I really wanted to be an editor; and, admittedly, it wasn’t just because of Careers. I love editing, I love being the person who gets to polish something beautiful into something perfect. At this point I have a little more than year of experience in the Toronto publishing world. Not a lot. I’m a baby, and I know it—but it’s enough to get a peek. I worked as an intern at a small publisher, sorting through submissions and slush. At the same small publisher, I worked as a typesetter and graphic designer. This past summer I have been working as an assistant for the president of a literary agency. These have all been really rewarding experiences and I’ve learned a lot. Publishing is hard. There’s a lot on the line for everyone emotionally, mentally, and financially. Doing design on a fast-paced publishing schedule is one of the most challenging jobs I’ve had so far, and seeing how agents function while they work is awe-inspiring. So many people in this industry work 17-18 hour days with hardly any weekends, just because they love it so much.
As I’m starting to grow into a publishing toddler, this experience has given me a pretty startling realization. I knew going into these internships that I wanted to write, that I always have wanted to write. But somewhere along the way I started letting my Careers teacher’s voice whisper in my ear. I am dedicated to continuing to educate myself on how to edit more thoroughly and how to design more beautifully. I’m just starting to get good enough to freelance reliably. But what I really want to focus on at the moment is my writing.
It’s not to say that some people can’t balance both. I know some wonderful ladies and gents who pull off doing both with style. There is definitely value in being both a writer and involved in the industry, whether it gives you a greater understanding of what’s required of you to get yourself published or whether it lends you empathy towards your clients. But that life is only suited to some very specific people. I’ve met some ex-agents-turned-writers who realized that they loved their own work more than working on other peoples’, even if they ultimately loved doing both. And I know plenty of once-writers who seem to be leaning towards becoming editors.
Me? Somehow, coming out of all of this has ended a five-year novel writing block, and I’m happily typing away at a new project every spare moment I have. My industry experience helped me make some major life decisions, like moving on to grad school instead of going on to a publishing certificate without a single doubt. Doing this work now means I got the experience while I had as many doors open as possible. I’m able to acknowledge that just because I’m interested in industry work doesn’t mean I have to commit to it 100% now when I’m only 23. Even if my career advisor told me I should.
Besides, there are so many other things I can do with my English degree.
(Like getting a PhD!)
Kerrie Byrne McCreadie has dipped her toes/feet/shins/waist into the publishing world in various ways over the past few years, and thinks the whole industry is pretty fascinating. You can follow her on twitter, or find her on her brand new blog. She is currently writing a rather depressing fairy tale contemporary, and will thank anyone for holding her hand as she starts her PhD applications this fall.
Yesterday I took my compact watercolor kit "into the wild" to the Dutchess County Fair in Rhinebeck, New York and painted an impromptu portrait of James "Fig" Newton, the oldest carnival worker at the fair.
He was assigned to a ball-toss game in Kiddie Land. A bucket of ping pong balls cost five dollars. The goal was to toss a ball into one of the glass bowls floating by on little rafts in a circular wading pool.
The game looked impossible and nobody was going for it.
I asked him if I could sketch him while he waited between customers, and he was glad for the diversion.
Fig is 71 years old. He has been in the carnival business for 48 years, working mostly in New York State. He has saved up money to help his nephew get started in glassblowing, and he just sent his daughter $500 so his grandkids could get outfitted for school.
He said when a family walks by he can tell right away who makes the decisions and who's got the money. Sometimes it's the dad, and sometimes it's the mom. I asked him if he had a good sales pitch to pull people in. "This game's not worth my barking," he said.
Every fifteen minutes or so a family would come up, pay the money, and a kid would toss the balls one by one.
As each kid went away disappointed, Fig got up to his feet, leaned over the plastic pool, and scooped out the ping pong balls with a kitchen strainer.
The portrait took about an hour. I used watercolor and colored pencils, with a little gouache for the edge lighting, highlights, teeth and the blue collar. When I showed it to him, he shook my hand and said, "Good. You got my scowl."
Hey, space cadets! I'm coming up to Edinburgh to do lots of library and school events, all coming together for my big CAKES IN SPACE event at the Edinburgh Book Festival with my co-author Philip Reeve on Saturday!
The discovery of the periodic system of the elements and the associated periodic table is generally attributed to the great Russian chemist Dmitri Mendeleev. Many authors have indulged in the game of debating just how much credit should be attributed to Mendeleev and how much to the other discoverers of this unifying theme of modern chemistry.
In fact the discovery of the periodic table represents one of a multitude of multiple discoveries which most accounts of science try to explain away. Multiple discovery is actually the rule rather than the exception and it is one of the many hints that point to the interconnected, almost organic nature of how science really develops. Many, including myself, have explored this theme by considering examples from the history of atomic physics and chemistry.
But today I am writing about a subaltern who discovered the periodic table well before Mendeleev and whose most significant contribution was published on 20 August 1864, or precisely 150 years ago. John Reina Newlands was an English chemist who never held a university position and yet went further than any of his contemporary professional chemists in discovering the all-important repeating pattern among the elements which he described in a number of articles.
Newlands came from Southwark, a suburb of London. After studying at the Royal College of chemistry he became the chief chemist at Royal Agricultural Society of Great Britain. In 1860 when the leading European chemists were attending the Karlsruhe conference to discuss such concepts as atoms, molecules and atomic weights, Newlands was busy volunteering to fight in the Italian revolutionary war under Garibaldi. This is explained by the fact that his mother was Italian descent, which also explains his having the middle name Reina. In any case he survived the fighting and set about thinking about the elements on his return to London to become a sugar chemist.
In 1863 Newlands published a list of elements which he arranged into 11 groups. The elements within each of his groups had analogous properties and displayed weights that differed by eight units or some factor of eight. But no table yet!
Nevertheless he even predicted the existence of a new element, which he believed should have an atomic weight of 163 and should fall between iridium and rhodium. Unfortunately for Newlands neither this element, or a few more he predicted, ever materialized but it does show that the prediction of elements from a system of elements is not something that only Mendeleev invented.
In the first of three articles of 1864 Newlands published his first periodic table, five years before Mendeleev incidentally. This arrangement benefited from the revised atomic weights that had been announced at the Karlsruhe conference he had missed and showed that many elements had weights differing by 16 units. But it only contained 12 elements ranging between lithium as the lightest and chlorine as the heaviest.
Then another article, on 20 August 1864, with a slightly expanded range of elements in which he dropped the use of atomic weights for the elements and replaced them with an ordinal number for each one. Historians and philosophers have amused themselves over the years by debating whether this represents an anticipation of the modern concept of atomic number, but that’s another story.
More importantly Newlands now suggested that he had a system, a repeating and periodic pattern of elements, or a periodic law. Another innovation was Newlands’ willingness to reverse pairs of elements if their atomic weights demanded this change as in the case of tellurium and iodine. Even though tellurium has a higher atomic weight than iodine it must be placed before iodine so that each element falls into the appropriate column according to chemical similarities.
The following year, Newlands had the opportunity to present his findings in a lecture to the London Chemical Society but the result was public ridicule. One member of the audience mockingly asked Newlands whether he had considered arranging the elements alphabetically since this might have produced an even better chemical grouping of the elements. The society declined to publish Newlands’ article although he was able to publish it in another journal.
In 1869 and 1870 two more prominent chemists who held university positions published more elaborate periodic systems. They were the German Julius Lothar Meyer and the Russian Dmitri Mendeleev. They essentially rediscovered what Newlands found and made some improvements. Mendeleev in particular made a point of denying Newlands’ priority claiming that Newlands had not regarded his discovery as representing a scientific law. These two chemists were awarded the lion’s share of the credit and Newlands was reduced to arguing for his priority for several years afterwards. In the end he did gain some recognition when the Davy award, or the equivalent of the Nobel Prize for chemistry at the time, and which had already been jointly awarded to Lothar Meyer and Mendeleev, was finally accorded to Newlands in 1887, twenty three years after his article of August 1864.
But there is a final word to be said on this subject. In 1862, two years before Newlands, a French geologist, Emile Béguyer de Chancourtois had already published a periodic system that he arranged in a three-dimensional fashion on the surface of a metal cylinder. He called this the “telluric screw,” from tellos — Greek for the Earth since he was a geologist and since he was classifying the elements of the earth.
1. Never the sharpest knife in the drawer, Harry Bumm buys a postcard while on vacation in the City of Djinn and sarcastically writes 'Wish you were here' and sends it to his ex-wife. Seconds later, she appears in his hotel room. Can he get rid of her before she fulfills her wishes to reconcile, have ten kids and move in with her witch of a mother?
2. By day Gilbert York is a prosecutor for the city of San Francisco, by night a video game creator. Pocket Djinn is Gilbert’s new monster collection game. Gilbert brings a copy to work where a freak power surge releases the djinn onto the city mainframe. Now Gilbert must use his coding skill to fight every pocket djinn and bring them home before it’s too late! 3. Everyone knows never to make a wish in the city of Djinn. No stranger to the rules, Alexander has always resisted the temptation until he sees beautiful Eleeza, and in one unguarded moment does the unthinkable. Now a djinn holds Eleeza's future in his hands unless Alexander can perform the dangerous ritual of un-whishing. 4. Worst wedding day ever: Meron's friends and family are all killed by raiders, she's left alone in the desert still wearing her wedding clothes, and then she captured by djinn, shapeshifting monsters who plan to take her to their city and have her for dinner, and I don't mean as a guest.
5. A disgruntled teenager heads to the big city, where people go to forget all their troubles, where it seems everyone is willing to fulfill his every wish. Life is fantastic, until he hits rock bottom and realizes this isn't a city of djinn... It's a city of gin. 6. Archaeologist Ahmed Rais returns to his homeland Iraq, hoping to rebuild the great museum. While cleaning some ancient silver, he is whisked away to a magic land where everything is strange and few speak his language. Just how did he end up in Dearborn, anyway?
7. When Jean Djinn comes of age, and into her powers, she thinks life can’t get any better. Pulling chairs out from under people, making the pavement over sewer lines disappear as people stroll along, materializing pies for people to walk into face first . . . Then they catch her, and send her to genie juvie to learn some respect. Now, she’s out for revenge, badda-bing-badda-boom style. And no jail in creation can hold her – especially not one located in the . . . City of Djinn. 8. Donnie dreams of becoming a star, the number one requested condiment on the planet, the name that’s on the tip of everyone’s tongue. But when he can’t even cut the mustard enough to make the top ten… well, what’s a self-respecting plant like him to do? Wait… what? City of what? Ohhh, Djinn. Never mind.
9. Slave trader Hamsi is an unpopular man in an unpopular profession. Just when it seems he may have to earn a respectable living as a shoe salesman, he stumbles upon the wondrous City of Djinn. So many potential slaves, so few oil lamps to trap them in.
Dear Evil Editor,
I’m seeking representation for City of Djinn, a 95,000 word YA fantasy set in a desert world with elements of Persian mythology. [I'd put this at the end.]
Blighted babies should be given to the desert. To do otherwise is to invite the wrath of the gods. [Get rid of this.]
Because of Meron’s birth defect, she’s been ostracized by her tribe: blamed for every lost camel and sick child [Why haven't the tribe given her to the desert?] and betrothed to an old man who already has two wives. And he only agreed to marry her because he owes her father a favor. [When someone owes you a favor for, say, feeding his camel while he was on vacation, it's considered bad form to demand he repay you by marrying your daughter. Especially if he's already married. Twice. Is the reason he has two wives because he owed two other guys favors?]
On the night of her wedding ceremony, raiders attack, slaughtering Meron’s tribe and leaving her alone in the middle of the desert, still wearing her wedding clothes. [At least there's no one left to blame her for this.] Her survival depends on crossing a land riddled with dangers: giant crabs that suck their victims dry, and immortal beings she thought were myths. When she’s captured by djinn – shapeshifting monsters that prey on humans – Meron is given a choice: die with the other captives [Who are these other captives?] or discover who’s been enslaving the djinn and why. [How do they know the djinn are being enslaved if they don't know who's enslaving them?] If she succeeds, she and the other captives will be freed. [Or so the Djinn claim, but can you really trust shapeshifting monsters that prey on humans?] If she fails, they’ll be dinner.
As the trail leads her closer to the dark kingdom next door and the beasts that guard it, Meron learns why the djinn selected herfor this task and discovers a secret that could propel her to the upper echelons of society, blighted or not. [When you're in danger of becoming someone's dinner, you tend to put your place in the societal order on the back burner.]
This is my first novel. I hope it will appeal to fans of Rae Carson’s Girl of Fire and Thorns and Tamora Pierce’s Tortall series. [I'd replace this with the first sentence, or combine them.]
I think you should tell us why Meron was selected for this task and what secret she learned that will make her the toast of the ton.
Enslaving a shapeshifter seems impossible. He can turn into a snake to slip out of his shackles. He can become a cheetah and run away, or a bird and fly away or he can turn into the Hulk and pound you into a pulp. If this world has sorcerers capable of preventing shapeshifting, then the djinn should be smart enough to figure out that it's the sorcerers who are enslaving them, instead of sending Meron to find out who's doing it.
If the birth defect is the reason Meron was chosen, start with the 3rd paragraph, but add the first two sentences of the 4th paragraph to that one. If it wasn't the reason, you can dump the entire 3rd paragraph and start with the 4th.
Douglas Florian is a poet and artist who has created poetry picture books that explore a wide variety of subjects. Over the years I have greatly enjoyed reading these books, and it is interesting to see how he applies his considerable talent to take on a new topic that interests him.
Birds truly are remarkable animals. They come in a dazzling array of colors, live on every continent, and make their homes in all kinds of places. In this wonderful picture book Douglas Florian pairs short poems with his artwork to give readers a true celebration of birds.
Over the millennia birds have evolved to suit many kinds of environments. Some birds, like the egret, sail on water and then rest on the beach making it seem as if there is a “feathered hat” lying on the sand. Dippers love to dip and dive in waterfalls. They are so aquatic that one wonders if they would be happy to “trade / Their oily wings for flippers.” They are such good swimmers that it is possible that the little birds might “think that they are fish.”
Birds come in all shapes and sizes. The spoonbill is tall and thin with a beak that does indeed look like a long-handled spoon. In his poem about this rather odd looking species, Douglas Florian wonders if the spoonbill uses its bill “for stirring tea” or does it “use it as a scoop / For eating peas and drinking soup.”
The stork has a bill that is perfectly suited for the environment it lives in. Wading through shallow water, the bird uses it rapier like bill to stab frogs and other creatures. Woodpeckers also have beaks that are perfectly adapted so that they can get to their chosen food - insects that live in wood and sap that runs through wood. Not only are these beaks perfect for creating holes, but woodpeckers also use them to communicate.
With clever touches of humor and insightful descriptions, this collection of poems will give young readers a colorful picture of twenty-one bird speci
In 1985, Nobel Laureate Gary Becker observed that the gap in employment between mothers and fathers of young children had been shrinking since the 1960s in OECD countries. This led Becker to predict that such sex differences “may only be a legacy of powerful forces from the past and may disappear or be greatly attenuated in the near future.” In the 1990s, however, the shrinking of the mother-father gap stalled before Becker’s prediction could be realized. In today’s economy, how big is this mother-father employment gap, what forces underlie it, and are there any policies which could close it further?
A simple way to characterize the mother-father employment gap is to sum up how much more work is done by mothers compared to fathers of children from ages 0 to 10. In 2010, fathers in the United States worked 3.1 more years on average than mothers over this age 0 to 10 age range. In the United Kingdom, the comparable number is 3.8, while in Canada it is 2.9 and Germany 4.5. The figure below traces the evolution of this mother-father employment gap for all four of these countries.
Becker’s theorizing about the family can help us to understand the development of this mother-father employment gap. Becker’s theoretical models suggest that if there are even slight differences between the productivity of mothers and fathers in the home vs. the workplace, spouses will tend to specialize completely in either in-home or in out-of-home work. These kind of productivity differences could arise because of cultural conditioning, as society pushes certain roles and expectations on women and men. Also, biology could be important as women have a heavier physical burden during pregnancy and after the birth of a child women have an advantage in breastfeeding. It is possible that the initial impact of these unique biological roles for mothers lingers as their children age. Biology is not destiny, but should be acknowledged as a potential barrier that contributes to the origins of the mother-father work gap.
Will today’s differences in mother-father work patterns persist into the future? To some extent that may depend on how cultural attitudes evolve. But there’s also the possibility that family-friendly policy can move things along more quickly. Both parental leave and subsidized childcare are options to consider.
Analysis of some data across the four countries suggest that these kinds of policies can make some difference, but the impact is limited.
Parental leave makes a very big difference when the children are age zero and the parent is actually taking the leave—but because mothers take much more parental leave than fathers, this increases the mother-father employment gap rather than shrinking it. Evidence suggests that after age 0 when most parents return to work, there doesn’t seem to be any lasting impact of having taken a maternity leave on mothers’ employment patterns when their children are ages 1 to 10.
Another policy that might matter is childcare. In the Canadian province of Quebec, a subsidized childcare program was put in place in 1997 that required parents to pay only $5 per day for childcare. This program not only increased mothers’ work at pre-school ages, but also seems to have had a lasting impact when their children reach older ages, as employment of women in Quebec increased at all ages from 0 to 10. When summed up over these ages, Quebec’s subsidized childcare closed the mother-father employment gap by about half a year of work.
Gary Becker’s prediction about the disappearance of mother-father work gaps hasn’t come true – yet. Evidence from Canada, Germany, the United States, and the United Kingdom suggests that policy can contribute to a shrinking of the mother-father employment gap. However, the analysis makes clear that policy alone may not be enough to overcome the combination of strong cultural attitudes and any persistence of intrinsic biological differences between mothers and fathers.
Dmitri Mendeleev believed he was a great scientist and indeed he was. He was not actually recognized as such until his periodic table achieved worldwide diffusion and began to appear in textbooks of general chemistry and in other major publications. When Mendeleev died in February 1907, the periodic table was established well enough to stand on its own and perpetuate his name for upcoming generations of chemists.
The man died, but the myth was born.
Mendeleev as a legendary figure grew with time, aided by his own well-organized promotion of his discovery. Well-versed in foreign languages and with a sort of overwhelming desire to escape his tsar-dominated homeland, he traveled the length and breadth of Europe, attending many conferences in England, Germany, Italy, and central Europe, his only luggage seemingly his periodic table.
Mendeleev had succeeded in creating a new tool that chemists could use as a springboard to new and fascinating discoveries in the fields of theoretical, mineral, and general chemistry. But every coin has two faces, even the periodic table. On the one hand, it lighted the path to the discovery of still missing elements; on the other, it led some unfortunate individuals to fall into the fatal error of announcing the discovery of false or spurious supposed new elements. Even Mendeleev, who considered himself the Newton of the chemical sciences, fell into this trap, announcing the discovery of imaginary elements that presently we know to have been mere self-deception or illusion.
It probably is not well-known that Mendeleev had predicted the existence of a large number of elements, actually more than ten. Their discoveries were sometimes the result of lucky guesses (like the famous cases of gallium, germanium, and scandium), and at other times they were erroneous. Historiography has kindly passed over the latter, forgetting about the long line of imaginary elements that Mendeleev had proposed, among which were two with atomic weights lower than that of hydrogen, newtonium (atomic weight = 0.17) and coronium (Atomic weight = 0.4). He also proposed the existence of six new elements between hydrogen and lithium, whose existence could not but be false.
Mendeleev represented a sort of tormented genius who believed in the universality of his creature and dreaded the possibility that it could be eclipsed by other discoveries. He did not live long enough to see the seed that he had planted become a mighty tree. He fought equally, with fierce indignation, the priority claims of others as well as the advent of new discoveries that appeared to menace his discovery.
In the end, his table was enduring enough to accommodate atomic number, isotopes, radioisotopes, the noble gases, the rare earth elements, the actinides, and the quantum mechanics that endowed it with a theoretical framework, allowing it to appear fresh and modern even after a scientific journey of 145 years.
Image: Nursery of new stars by NASA, Hui Yang University of Illinois. Public domain via Wikimedia Commons.
Maria T. Lennon is a graduate of the London School of Economics, a novelist, a screenwriter, and the author of Confessions of a So-called Middle Child, the first book featuring the irrepressible Charlie C. Cooper.
According to Merrian-Webster, editing is the process of preparing "(something written) to be published or used : to make changes, correct mistakes, etc., in (something written)."
In other words, it's the process of making your content, manuscript or other writing sparkle. It makes the content publishable.
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