Huge numbers of people want to write for children, but it is notoriously difficult to find a publisher in this increasingly comeptitive area. This inspiring and practical guide from acknowledged expert on children's publishing Louise Jordan, will show you how to make your work stand out from the crowd and appeal to commissioning editors, and, of course, your intended audience.
The Vicar was sufferingÑalmost as much as he had suffered the night that Helen, his wife, had diedÑand because he was suffering he dressed his fine cameo-like face in its sunniest smile. That was his wayÑpart of his creed-of-daily-life, an intrinsic part of his self. A godly man, in the sweetest and strongest senses of that overused word, Philip Reynolds had a wholesome flair for the things of earth that both mellow human life and give it a tang. He liked his dinner, and he liked it good. He loved his roses, and he was vastly proud of his turnips. His modest cellar was admirably stocked. He enjoyed the logs that burned and glowed on his wide hearths. He was fond of his booksÑboth inside and out. If he found a newly purchased book (he subscribed to no library) little worth reading, he discarded it. He gave it away, if he held it harmless; if he thought it a hurtful volume, he burned it. But his taste was broad, and his charityÑto books as well as to peopleÑwas wide. He played a good hand of bridgeÑthough Lucilla, his girl, played even a better. But he could beat the county at whist, and most of it at chess. He still could give a crack tennis player a game, and he could ride neck and neck with the nextÑand so could Lucilla. But all these things were so much to him only because they that he loved were so greatly more. There were four big human loves in his being and keeping. Three whom he loved were out in the churchyardÑonly one, Lucilla, still lived. But he loved the three as actively now as he had when they had been here in the vicarage with him. And the creature things he cared for and cultivatedÑwine, food, games, flowers, booksÑhe cared for and appreciated most because he associated them with the beings of his strong living love: his mother, his wife, Jack, his boy, and Lucilla, his daughter.
Geometric patterns inspired by brickwork, titling and iron gates & windows in the Wellington Railway Station are used as design templates for knitting patterns for a variety of accessories suited to the Wellington climate.
Drawing on a wealth of previously unseen documents, sourced by Freedom of Information requests, together with interviews with government and intelligence agency officials, Louise Kettle questions whether the British government has learned anything from its military interventions in the Middle East, from the 1950s to the 2016 Iraq Inquiry report.
Who helps in situations of forced displacement? How and why do they get involved? In Helping Familiar Strangers, Louise Olliff focuses on one type of humanitarian group, refugee diaspora organizations (RDOs), to explore the complicated impulses, practices, and relationships between these activists and the "familiar strangers" they try to help. By documenting findings from ethnographic research and interviews with resettled and displaced persons, RDO representatives, and humanitarian professionals in Australia, Switzerland, Thailand, and Indonesia, Olliff reveals that former refugees are actively involved in helping people in situations of forced displacement and that individuals with lived experience of forced displacement have valuable knowledge, skills, and networks that can be drawn on in times of humanitarian crisis. We live in a world where humanitarians have varying motivations, capacities, and ways of helping those in need, and Helping Familiar Strangers confirms that RDOs and similar groups are an important part of the tapestry of care that people turn to when seeking protection far from home.
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