Guidelines for Accepted Authors
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Trinity Tripod, 1982-09-21
TRINITY TR Vol. LXXXI, Issue 2 TRINITY COLLEGE, HARTFORD, CONNECTICUT September 21,1982 Davis Endowment Beati, Sullivan Sponsors Capture Top Seminars by Joy Kosciclniak SGA Positions The Davis Endowment, given Lowell, Massachusetts City Com- to Trinity College by Shelby by Marilyn Weiss mittee and in May, 1982, served as Cullon Davis, was to have funded Running on the platform of a delegate at the Massachusetts. a position in the Administration greater student involvement at State Convention in Springfield. at Trinity. However, the position Trinity, senior biology major Ted Hartsoe came in second in was not filled immediately, and Todd Beati was elected president the race for the presidency with the money doubled in amount, of the SGA last Thursday with a' 266 votes. Third place went to leaving extra funds available to total of 368 votes. Advocating the . importance of the students' voice Leif Fellinger with 231 votes. Ben the Internships Program. The En- Howe captured fourth place with dowment now pays the salary of in academic and social policies, Todd stresses the importance of a total of 115 votes. Fifth place Betty-Anne Cox, Coordinator of successful communication within went to Tina Tricarichi with 90 the Trinity Internship Program. the Trinity environment. By keep- votes, and Peter O'Brien came in The purpose of the Endowment is ing the majority in contact with sixth with 75 votes. to introduce free enterprise to the SGA and its policies, Todd Senior Chris Sullivan, elected those students at Trinity who are will strive to accomplish the vice-president, is far from un- interested in a career in business, necessary changes. -
Outlook Volume 37 • Issue No
THE OAKRIDGE SCHOOL OUTLOOK VOLUME 37 • ISSUE NO. 1 FEATURES 6 PAGE 6 Oakridge Innovates Oakridge is focused on meeting the evolving needs of today’s learner with exciting solutions, whether it’s a modular classroom desk or an integrated media lab where 16 students work with real world clients. PAGE 16 Life as an Oakridge Teacher Fourth grade teacher Kathy Jo Rogers shares her perspective on preparing our Owls to be the most helpful, kind, and knowledgeable citizens that they can be. PAGE 18 Experiential Learning on Class Trips The annual class trips for fifth through tenth grades provide students with new opportunities to connect with their studies, 18 26 their teachers, and each other. PAGE 26 Arts News The Upper School fall play and the Middle School musical featured a cast and crew of talented Owls who work hard to balance academics with their creative pursuits. PAGE 34 Fall Athletes Compete at SPC Varsity Cross Country, Volleyball, and Field Hockey athletes made Oakridge proud when 34 they traveled to Austin for the Southwest Preparatory Conference Championship tournament. Outlook 2017 Volume 37, Number 1 The Oakridge School PAGE 40 5900 West Pioneer Parkway Arlington, Texas 76013 Owls in Business 817.451.4994 Design Printing Oakridge Owls have a long-standing Green Apple Lane JohnSons Press tradition of entrepreneurial spirit. Learn how The Oakridge School is an independent, coed, college-preparatory day school for students today’s alumni are seeing a need and creating in preschool (age 3) through grade 12. The Oakridge School does not discriminate on the a business or non-profit as a solution. -
Instructions for Authors
INSTRUCTIONS FOR AUTHORS MANUSCRIPT SUBMISSION Manuscript Submission Submission of a manuscript implies: that the work described has not been published before; that it is not under consideration for publication anywhere else; that its publication has been approved by all co-authors, if any, as well as by the responsible authorities – tacitly or explicitly – at the institute where the work has been carried out. The publisher will not be held legally responsible should there be any claims for compensation. Permissions Authors wishing to include figures, tables, or text passages that have already been published elsewhere are required to obtain permission from the copyright owner(s) for both the print and online format and to include evidence that such permission has been granted when submitting their papers. Any material received without such evidence will be assumed to originate from the authors. Online Submission Authors should submit their manuscripts online. Electronic submission substantially reduces the editorial processing and reviewing times and shortens overall publication times. Please follow the hyperlink “Submit online” on the right and upload all of your manuscript files following the instructions given on the screen. If the link is not activated, please mail your submission to [email protected]. TITLE PAGE The title page should include: The name(s) of the author(s) A concise and informative title The affiliation(s) and address(es) of the author(s) The e-mail address, telephone and fax numbers of the corresponding author Abstract Please provide an abstract of 150 to 200 words. The abstract should not contain any undefined abbreviations or unspecified references. -
Living Clean the Journey Continues
Living Clean The Journey Continues Approval Draft for Decision @ WSC 2012 Living Clean Approval Draft Copyright © 2011 by Narcotics Anonymous World Services, Inc. All rights reserved World Service Office PO Box 9999 Van Nuys, CA 91409 T 1/818.773.9999 F 1/818.700.0700 www.na.org WSO Catalog Item No. 9146 Living Clean Approval Draft for Decision @ WSC 2012 Table of Contents Preface ......................................................................................................................... 7 Chapter One Living Clean .................................................................................................................. 9 NA offers us a path, a process, and a way of life. The work and rewards of recovery are never-ending. We continue to grow and learn no matter where we are on the journey, and more is revealed to us as we go forward. Finding the spark that makes our recovery an ongoing, rewarding, and exciting journey requires active change in our ideas and attitudes. For many of us, this is a shift from desperation to passion. Keys to Freedom ......................................................................................................................... 10 Growing Pains .............................................................................................................................. 12 A Vision of Hope ......................................................................................................................... 15 Desperation to Passion .............................................................................................................. -
Duane Elgin Endorsements for Choosing Earth “Choosing Earth Is the Most Important Book of Our Time
CHOOSING EARTH Humanity’s Great Transition to a Mature Planetary Civilization Duane Elgin Endorsements for Choosing Earth “Choosing Earth is the most important book of our time. To read and dwell within it is an awakening experience that can activate both an ecological and spiritual revolution.” —Jean Houston, PhD, Chancellor of Meridian University, philosopher, author of The Possible Human, Jump Time, Life Force and many more. “A truly essential book for our time — from one of the greatest and deepest thinkers of our time. Whoever is concerned to create a better future for the human family must read this book — and take to heart the wisdom it offers.” —Ervin Laszlo is evolutionary systems philosopher, author of more than one hundred books including The Intelligence of the Cosmos and Global Shift. “This may be the perfect moment for so prophetic a voice to be heard. Sobered by the pandemic, we are recognizing both the fragility of our political arrangements and the power of our mutual belonging. As Elgin knows, we already possess the essential ingredient —our capacity to choose.” —Joanna Macy, author of Active Hope: How to Face the Mess We're in Without Going Crazy, is root teacher of the Work That Reconnects and celebrated in A Wild Love for the World: Joanna Macy and the Work of Our Time. “Duane Elgin has thought hard — and meditated long — about what it will take for humanity to evolve past our looming ecological bottleneck toward a future worth building. There is wisdom in these pages to light the way through our dark and troubled times.” —Richard Heinberg is one of the world’s foremost advocates for a shift away from reliance on fossil fuels; author of Our Renewable Future, Peak Everything, and The End of Growth. -
A RESOURCE for DANCE EDUCATION Written in the Words of Kate Prince
A RESOURCE FOR DANCE EDUCATION Written in the words of Kate Prince. By: Rachel Howes Teacher of Dance @MissRHowes1. Published by: ZooNation: The Kate Prince Company. www.zoonation.co.uk @ZooNationUK CONTENTS ABOUT THE COMPANY, ABOUT KATE PRINCE & A MESSAGE FROM KATE 3 SYNOPSIS & PURPOSE OF THE SHOW 5 CAST, CREATIVES & CREW 6 THEMES, ISSUES & CONTEXTUAL INFLUENCES 7 ABOUT THE CREATION OF SOME LIKE IT HIP HOP – FROM PAGE TO STAGE 8 COLLABORATING WITH OTHER CREATIVES 10 PICTURE POSTCARD TECHNIQUE 11 SCENE SYNOPSIS 12 A DEEP DIVE INTO FIVE SIGNIFICANT SCENES 13 INITIAL THOUGHTS TASK 15 INTERVIEW WITH SET DESIGNER, BEN STONES & A DESIGN BASED WORKSHOP 16 INTERVIEW WITH COMPOSER, DJ WALDE & A MUSICAL STIMULUS WORKSHOP 19 INTERVIEWS WITH CAST MEMBERS, BRADLEY CHARLES AND CARRIE-ANNE INGROUILLE 21 PRACTICAL EXPLORATION WORKSHOP 23 CHARACTER DEVELOPMENT WORKSHOP 24 FURTHER WORKSHOP OPPORTUNITIES 26 USEFUL RESOURCES & FINAL MESSAGES 27 2 ABOUT ZOONATION : THE KATE PRINCE COMPANY ZooNation was founded by Kate Prince in 2002 and is best known for its work in the theatre, creating full length narrative dance productions influenced in equal parts by musical theatre, Hip Hop culture and music. ZooNation’s work is fortified with an extensive programme of engagement and talent development, working with different communities and young artists to expand their skills, knowledge and confidence in our style of dance theatre. For further information please visit: zoonation.co.uk/explore/company-biography/ 3 ABOUT KATE PRINCE Kate Prince MBE Choreographer, Director & Writer Kate is artistic director of ZooNation, which she founded in 2002. She is an associate artist at The Old Vic and at Sadler’s Wells, where ZooNation is also a Resident Company. -
The Considerations of Editing Previously Published Works
Portland State University PDXScholar Book Publishing Final Research Paper English 5-2015 The Considerations of Editing Previously Published Works Ariana Marquis Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/eng_bookpubpaper Part of the English Language and Literature Commons, and the Publishing Commons Let us know how access to this document benefits ou.y Recommended Citation Marquis, Ariana, "The Considerations of Editing Previously Published Works" (2015). Book Publishing Final Research Paper. 6. https://pdxscholar.library.pdx.edu/eng_bookpubpaper/6 This Paper is brought to you for free and open access. It has been accepted for inclusion in Book Publishing Final Research Paper by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Ariana Marquis 5/11/15 The Considerations of Editing Previously Published Works Research question: “How, if at all, do editors adjust their methods when they are editing something that has been previously published (e.g. a short story that previously appeared in a literary journal and will now be published as part of a collection of short stories)? What is their justification for these adjustments (or lack thereof)? How does their understanding of these adjustments (or lack thereof) compare to the products of their efforts?” Ariana Marquis 5/11/15 The Considerations of Editing Previously Published Works Many readers don’t realize the extent to whiCh two versions of the same work—earlier and later editions of a book, an essay that appears in two different collections, a mass market edition versus a CritiCal edition for sCholars—can differ from one another. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
The Swetky Agency Agreement ______
THE SWETKY LITERARY AGENCY LITERARY AGENCY AGREEMENT http://www.swetkyagency.com Faye M. Swetky, Representative/Owner: [email protected] ___________________________________________________________________ AGREEMENT ("Agreement"), dated 10/14/2017, defines the relationship between literary agent, The Swetky Literary Agency, 929 W. Sunset Blvd #21-285, St. George, UT 84770, 719-859-2211 / 435-579-5000 FAX, [email protected] ("Literary Agent"), and author/creator/developer _____________________(“Author”). 1. LITERARY AGENCY REPRESENTS AUTHOR For the term of this agreement, Author hereby retains Literary Agent: (a) To represent Author for the sale of all Author’s works ("Represented Works"), written or to be written by Author and not covered by a prior un-agented sale or prior agency agreement, including: (1) all book-length fiction and/or nonfiction; (2) all full-length feature screenplays and/or full-length or series-length television scripts; and (3) any other writings that Author and Literary Agent may agree upon and specifically stipulate in writing, unless the agency deems the property to be unmarketable in its presented form and so notifies author of that fact via e-mail within thirty (30) days of submission to Agent. Author hereby agrees to make available to Literary Agent all above mentioned works for consideration for representation. (b) To negotiate sales ("Represented Sales") of (1) Represented Works in the U.S., its territories, and Canada ("Domestic Sales"), if applicable, (2) Represented Works in non-domestic markets ("Foreign Sales”), and (3) derivative or secondary rights in the Represented Works (such as film, TV, recording, or other dramatic media) anywhere in the world (“Subsidiary Sales"). -
Literary Agent Michael Larsen
10 Commandments That Guarantee Your Success Handouts for a Keynote/Seminar Michael Larsen Michael Larsen-Elizabeth Pomada Literary Agents Co-director, San Francisco Writers Conference San Francisco Writing for Change Conference Author of How to Write a Book Proposal and How to Get a Literary Agent From which many of the handouts were adapted Coauthor of Guerrilla Marketing for Writers: 100 Weapons for Selling Your Work With Jay Conrad Levinson, Rick Frishman, and David Hancock Michael Larsen Michael Larsen. The commandments are the outline of a keynote and seminar. Michael Larsen-Elizabeth Pomada Literary Agents/ AAR / Helping Writers Launch Careers Since 1972 [email protected] / www.larsenpomada.com / 415-673-0939 /1029 Jones Street / San Francisco, 94109 The 12th San Francisco Writers Conference / A Celebration of Craft, Commerce & Community February 12-16, 2015 / www.sfwriters.org / [email protected] / Mike’s blog: http://sfwriters.info/blog Keynotes: Judith Curr, Yiyun Li @SFWC / www.facebook.com/SanFranciscoWritersConference The 7th San Francisco Writing for Change Conference / Changing the World One Book at a Time September, 12th, 2015 / www.sfwritingforchange.org / [email protected] Mike’s blog: http://sfwriters.info/blog / @SFWC / www.facebook.com/SanFranciscoWritersConference 0 A Golden Age for Writers: 10 Truths You Need to Know About Writing and Publishing To be a successful, you need a positive but realistic perspective about writing and publishing. These ten observations form the basis for “10 Commandments that, with Luck, Guarantee Your Success as a Writer.” 1. Because the Web empowers you to reach readers, control and profit more from your work, collaborate on monetizing and publicizing your work, and change the world faster and more easily than ever, now is the best time ever to be a writer. -
The NWU Literary Agent Agreement” 6/19/08 10:57 PM
Loading “The NWU Literary Agent Agreement” 6/19/08 10:57 PM The NWU Literary Agent Agreement (Confidential: For NWU members only) Understanding the Author-Agent Relationship A Guide to the NWU Preferred Literary Agent Agreement Introduction This guide is an educational tool for authors who are considering entering into a relationship with a literary agent, or who need help in understanding an existing author- agent agreement. It should be read in conjunction with the National Writers Union Preferred Literary Agent Agreement and used to evaluate or improve any agent agreement you may be asked to sign. Both documents are available to National Writers Union (NWU) members. Deciding to retain an agent is a major decision in any author\'s career. An agent will agree to represent your work because she believes she can sell it to a publisher or publishers. The agent is your representative, whom you hire to market your work, to negotiate your publishing contracts, and to oversee your royalty accounts. In exchange for an agent\'s representation, an author agrees to pay the agent a commission; a commission is a percentage of all income earned from those rights that the agent is able to license. Every author\'s work includes a bundle of individual rights that may be exploited: e.g., hardcover print rights; paperback print rights; electronic database rights; interactive software rights; foreign translation rights; television adaptation rights; audio cassette rights, and so forth. In addition, as new forms of media are created, new rights (e.g., CD-ROM rights) emerge and become valuable. Collectively, these individual rights form the copyright to one\'s work. -
Print Books on Demand Formatting Guide
Barnes & Noble® Print Books on Demand Formatting Guide barnesandnoble.com llc, 76 Ninth Avenue, New York, NY 10011 USA. © 2014 barnesandnoble.com llc. All rights reserved. Barnes & Noble®, NOOK®, NOOK Book®, NOOK Press®, PubIt!®, and the NOOK logos are trademarks of barnesandnoble.com llc or its affiliates. Patent Pending. Content shown may vary from actual available content, which may change without notice. All trademarks or registered trademarks that are not the property of barnesandnoble.com llc or its affiliates are the property of their respective owners. TABLE OF CONTENTS Getting Started ....................................................................................................... 6 Book File Requirements ......................................................................................... 7 What is a Print-Ready PDF? ....................................................................................................................................... 7 Pre-Press Manuscript.............................................................................................. 8 Proofread and Spell-Check ......................................................................................................................................... 8 Spacing and Text Placement ....................................................................................................................................... 8 Using Hard Returns ....................................................................................................................................................................