Senin, 30 November 2015

** Download Ebook Flogging the Quill: Crafting a Novel that Sells, by Ray Rhamey

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Flogging the Quill: Crafting a Novel that Sells, by Ray Rhamey

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Flogging the Quill: Crafting a Novel that Sells, by Ray Rhamey

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Flogging the Quill: Crafting a Novel that Sells, by Ray Rhamey

Flogging the Quill is out of print at the end of 2014, but a new and improved version titled Mastering the Craft of Compelling Storytelling is now available as a paperback and Kindle book. It's in a smaller paperback size and has new content.

Mastering the Craft is a one-book remedy for a host of beginning novelist ailments, a tune-up for published authors, and a resource for editors. Rich with advice and coaching from editor/author Ray Rhamey, its primary focus is to lift a novel manuscript to a publishable, professional level. The book's sections cover storytelling, determining what drives a plot, the six vital story ingredients, and tools for spotting shortcomings in a narrative. Writers also learn experiential description, how to handle the tricky character-description hurdle, staging, and overwriting. The when to tell, how to show lesson has been praised by literary agents and college teachers. If any one book can help you lift your novel to professional and publishable, this is it.

  • Sales Rank: #2102214 in Books
  • Published on: 2009-05-08
  • Released on: 2009-05-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x .63" w x 8.50" l, 1.57 pounds
  • Binding: Paperback
  • 256 pages

Review
It's a winner! For some time now, I've been a fan of Flogging the Quill, Rhamey's excellent blogsite about the how-to's of writing. Now he's compiled his expertise into a writing guide, and it's a must-have for any novelist--published or just aspiring. It's one of the most readable, entertaining books on writing out there. Whether you're writing your first novel or your twentieth, this book will provide the kick you need to start writing--and keep writing. Bestseller Tess Gerritsen

As an owner and managing editor of a publishing company, I've read many submissions that were near-misses. If the writers had had the benefit of this book, they'd be published right now. Witty, funny, and engaging, this is a must-read for the burgeoning storyteller and serious novelist, and it's a necessity for all editors who seek to nurture their writing clients. Laura Abbott, Editor/Publisher, Amber Quill Press

Learn the critical art of revision--ruthless and rigorous self-editing--from a man who understands it better than most. If you are ready to do the work, Ray Rhamey's book provides the sort of practical, sensible advice that really can help you become a better writer. Dan Conaway, Literary agent, Writers House

About the Author
Ray Rhamey is a novelist, screenwriter, and editor who has made a living with creativity, writing, and editing for over thirty years. He is a book editor and designer, Crrreative Book Editing and Design. He has done freelance developmental editing of book-length manuscripts since 2001, specializing in fiction by first-time novelists. His internationally known blog on the craft of storytelling, Flogging the Quill, draws 9,000 page hits per month. He also conducts workshops at writing conferences on crafting a killer first page and crafting killer description and dialogue scenes.

Most helpful customer reviews

8 of 8 people found the following review helpful.
A complete guide to the basic craft of writing
By M. Inspektor
This is an excellent overview of all different aspects of the craft of writing-- from words to avoid ("of," "some") to ways to pace dialogue with beats to how to craft a compelling protagonist. The biggest weakness of this guide is also its biggest strength-- while Ray has an impressive resume, he is still at this point a student, editor, and teacher of novel writing rather than a published novelist himself. I recommend this novel especially to new writers who are having trouble with the basic elements of fiction-- I've read HOW TO WRITE THE BREAKOUT NOVEL, for example, and I think it is better for experienced novelists looking to be exceptional, while FLOGGING THE QUILL is better for new writers looking to master the technical side of novel writing. Ray is a great teacher who does a clear and comprehensive (as well as entertaining) job of bringing together advice from the best teachers in the biz and adding insights of his own.

The most useful sections to me included a helpful summery of McKee's (STORY) ideas about crafting protagonists, Ray's own epiphany about how we need to craft antagonists with motivations as complex as the protagonists, and the idea of granting characters "ghosts" and seeding future events early in the text.

7 of 7 people found the following review helpful.
Great Investment
By Shannon
I've been reading Ray's website, Flogging the Quill, for several months. I intended to purchase a copy of his book at some point, but it took me a while to finally make the purchase. As an aspiring author in the Internet age, I thought there was enough information out there in the blogosphere to provide me with everything I needed for my arsenal. Boy, was I wrong. I wish that I would have purchased Flogging the Quill months ago. Had I bought the book when I first learned about it, I'm confident it would have saved me a tremendous amount of time and effort in the crafting, writing, and rewriting of my first novel.

Seriously, I love this book. First of all, the size is great. Funny thing to say, I know, but hear me out...I expected a small, hand-held paperback. I was pleasantly surprised to get a large workbook. Having enough room to write notes on the pages (instead of inside of a tiny margin) was tremendously helpful. Second, the book is filled with great real-world examples that clearly explain topics. And finally, Ray's voice is incredibly easy to follow - he takes complex concepts and breaks them down into a way that just "click" and make sense.

If you are writing a novel, planning on writing or novel, or have just thought about writing a novel - invest in this book. It's well worth every dollar spent! Thanks Ray!

4 of 4 people found the following review helpful.
An invaluable 'workshop in a book' for anyone seeking to hone their storytelling skills
By Midwest Book Review
No sector of the publishing industry is as competitive as that of fiction. The competition facing any aspiring novelist is intense and only the best, most imaginative, and technically skilled will succeed. That's why 'how to' books like Ray Rhamey's "Flogging The Quill: Crafting A Novel That Sells" is such important, practical, and recommended reading for anyone who is seeking to establish a profitable career writing fiction, regardless of the genre they choose to specialize in. Drawing upon his years of experience as an author and editor, and as the creator of the 'litblog' 'Flogging the Quill' where writers from around the world can explore the craft of storytelling, Ray Rhamey has organized his instruction manual into seven major sections: Storytelling; Description; Dialogue; Technique; Words; Workouts; and Computer Tips. An invaluable compendium that is as informed and informative as it is thoughtful and thought-provoking, "Flogging The Quill" will prove to be an invaluable 'workshop in a book' for anyone seeking to hone their storytelling skills and produce novels that will be able to successfully compete for publication and sales.

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? Ebook The Amen Corner: A Drama in Three Acts, by James Baldwin

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The Amen Corner: A Drama in Three Acts, by James Baldwin

Comic Drama

Characters: 4 male, 10 female

Compelete interior

Self-anointed Harlem store front preacher Margaret Alexander is the leader of her flock and about to see her world crumble. Son David her church organist, is set on following in the footsteps of his father, jazz musician Luke. When the errant husband and father comes home to die, Sister Margaret finds herself losing everything but coming to terms with her own true sense of faith. From the author of Blues for Mr. Charlie.

"The characters are honestly observed, and the lines have wings and humor."- The New York Daily News

"Truth, vividness and rich humanity."- The New York Post

  • Sales Rank: #871721 in Books
  • Brand: Brand: Samuel French, Inc.
  • Published on: 2010-11-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.99" h x .21" w x 5.00" l, .24 pounds
  • Binding: Paperback
  • 102 pages
Features
  • Used Book in Good Condition

Review
"The characters are honestly observed, and the lines have wings and humor."- The New York Daily News "Truth, vividness and rich humanity."- The New York Post

About the Author
James Baldwin (1924-1987) burst on the literary scene in 1953 with his novel Go Tell It on the Mountain, which received excellent reviews and immediately was recognized as establishing a profound new voice in American letters. His acclaimed collection of essays, Notes of a Native Son, was published in 1955. A second collection of essays, Nobody Knows My Name, was published in 1961 between his novels Giovanni's Room (1956) and Another Country (1961).

Most helpful customer reviews

4 of 4 people found the following review helpful.
For Nina, Ray, Miles, Bird and Billie
By Aco
What begins as a family drama about a determined pastor and single mother, whose church, congregation and son are her whole life evolves into an amazing and painful story of love, reconciliation and hypocrisy.
Margaret Alexander is the without-a-doubt leader of her parish, her colleagues, the elders of the church are her agreeable assistants, with the truth of Christ her driving force. But a past that proves more human and relevent than the elders can recognize exposes her as less than pure, and the hypocrisy of spiritual judgement rears its ugly head.
I found the beginning of the play slow, dry and ordinary. Though after reading the notes from Baldwin which open the edition I had I was awoken to the depth of the story, and ultimately was captivated by the honesty and beauty of the play. I pulled this from the library shelf having known about Baldwin but never read him. I now return it to the library with some understanding of the quality of writer and person he was, and look forward to reading his other work.

4 of 5 people found the following review helpful.
Amen! Hallelujah!
By Arlena Flanders
James Baldwin does an amazing job with the Amen Corner. This and the plays of August Wilson are by far some of the greatest plays I've read in Black Theater. I felt like I was sitting right there in the congregation watching this play unfold. This play delivers a strong message with unforgetable and dimensional characters, and an intriguing plot that will keep you wanting more. There's nothing like reading a good piece of literature with a lifetime and lasting effect. Thumbs up for James Baldwin and the Amen Corner! Amen! Hallelujah...say it again for Baldwin!!!

0 of 0 people found the following review helpful.
Universal because Black
By Dr Jacques COULARDEAU
A very important and fascinating play from the black stage. Not so important because of the power struggle in this black fundamentalist Christian church but because of four other dimensions: The role of women in society; the place of religion as an alienation in society; the musical perspective in society; and the place of love for father, mother and son in society. These four questions are universal, and yet the play situates them in the black community of New York.

I will not develop the power struggle. One younger woman took over from an older man and is pushed aside by another woman who takes over. This church, maybe most churches, is the locale of ambition and social climbing. The arguments of this power struggle have nothing to do with religion. It is plain power struggle for the sake of power which also means financial resources and some kind of comfort represented by a brand new Frigidaire, though such a position is always fragile. What's most shocking is that the arguments used are private, intimate and personal, often under the belt: they have nothing to do with religion that is only the covering of the personal ambition and rivalry if not hatred of these church elders.

Far more interesting are the four other levels.

The role of women in society is central. Margaret became the pastor of this church very fast and pushed aside an older man. The question of women's authority is constantly present. There is only one man in the congregation, Brother Boxer, who is constantly kept under pressure by Margaret because he is driving a delivery truck for an alcoholic beverage business. Margaret considers you cannot be an accessory to a sin and alcohol is a sin in itself, alcohol and not alcoholism: if alcohol did not exist there would be no alcoholism. The reasoning is naïve but we understand that in fact she keeps that MAN under pressure because she has some accounts to settle with men in general, her husband in particular, Luke. Brother Boxer expresses the principle that women must be under the control of men and he will use that argument against Margaret to dispose of her, not only depose her: she has no man to control her. Her husband Luke did not abandon his family, as she has pretended for ten years, but she left her husband taking her son along after the still-born delivery of her second child, a daughter. It is revealed later that she baby was still born because of the parents' poverty and the mother's undernourishment. No use discussing this argument. Let's take it at face value.

Luke is a jazz trombone player and he does not make a lot of money and runs along with the main flaw of this activity: alcoholism. He turns up in the play on his last leg before dying. The confrontation is difficult and Margaret is obliged to acknowledge she left him and not the reverse. This becomes at once a major shortcoming in Margaret for the main opposition embodied in Sister Moore who immediately airs the idea that a woman pastor has to be pure. If abandoned by her husband she is the victim of men. But if it is the reverse she is impure whereas she, Sister Moore, has never known, nor desired, a man, at least so she says. This myth of purity on the side of women is absolutely reduced to sexual virginity. It is in no way a purity of the heart, or the soul, but only of the sexual drive that has to be inexistent. There the play is particularly caustic because Margaret discovers little by little that she still loves Luke and has always loved Luke, and she comes to the idea that Christianity is founded on love: a Christian is supposed to love all his or her neighbors as himself or herself. That blocks any kind of rejection, of any neighbor on any possible motive. If you love you also forgive. It is not an obligation, it is an implication. If there is no forgiveness there is no love. Margaret discovers this little by little. And she steps down from the pulpit at the end because she has finally understood that.

This then enables us to see the alienating role or use of religion in society when this religion becomes a fundamentalist reading of the Bible. Note it is not the Bible that is at stake. It is not Christianity that is at stake. It is valid for all religions. Any fundamentalist reading of any "sacred" text is necessarily in contradiction with the modern world and hence leads necessarily to bigotry. Religion is not a revealed something from high in the sky, but an invention of mankind to cope with the world and the human species' survival and expansion. Then, and this is a fundamental attitude of all men or women, the invention is fetishized into a sacred and untouchable text that has to be interpreted only in one way. When we know the tremendous variety of interpretation of the Christian canon to be a fundamentalist sounds slightly crazy. But it is exactly the same thing with Islam or Buddhism. This play shows that bigotry based on a fundamentalist reading of the Bible in so many details of concrete real material and spiritual life, that it becomes at this level a real manifesto: religion has to be an inspiration to love and cannot be in anyway the justification of any rejection. Margaret understands that when her unwavering dogma rejects her husband she still loves, leads her son to going away to live his own life and not be stifled or choked to death by his mother, and then also in her very un-empathetic reaction to Ida Jackson's demand whose suffering: child is withering away and finally dies in hospital. The first reaction is to advise this mother to leave her husband, which she refuses to do. The second piece of advice is to accept the will of God who knows better what the mother needs. The woman then reacts strongly because she considers she does not need that suffering, but she needs love and does not find it. The woman has lost two children and Margaret's only wise crack (for her it is wisdom of course) is to advise the mother to make another child. The best part is that Margaret falls from her pulpit pushed by a woman with the support of a man and another woman on the basis of arguments of the same cruel inspiration, well not that inspired, rather very ill-motivated by the same cruel vision of life.

Music is important in this play, as always with James Baldwin. The father, Luke, is a jazz trombone player. The son, David, is, or is to be, a jazz piano player. Music is fundamental in this church too with an evolution about how to use it from a plain piano, or keyboard today, which is the very minimum in a black church, though with a lot of singing, to the introduction of drums and horns of some kind coming from a sister church in Philadelphia. Music is here again the core and heart of David's self and objective in life. Note he is perfectly well named since King David was the founder of the music school of Jerusalem some 25 centuries ago. The father, Luke, is also well named since he is one of the Gospel writers and Luke's Gospel is supposed to be the most sensitive and empathetic, Luke being a doctor by profession and well accustomed to dealing with suffering. A lot should be said on these two names and men.

Music is seen in its human ambiguity. Music is transcendence from real material life to spiritual mental beauty, but at the same time it is also surrounded by alcohol, tobacco, prostitution or "fornication" in bars and night clubs. It is difficult for a musician to avoid being tempted. Note in this early play by Baldwin the theme of music being the field of multiple mergers, among them love and any kind of love including gay love, is not yet present or developed. Yet this music is attached to the love David dreams or remembers at first for his father and then the same love he finally meets in reality, his father being there in front of him. This love is expressed by the borrowing and bringing to the apartment of a phonograph to play a record of his own father's old trombone playing. A gift to his father, an epiphanic experience for David and a disturbing yet revelational moment for Margaret. It is probably the hearing of that trombone music that determines Margaret to accept to step down from the pulpit without a fight. She is moving towards another phase in her life that will have to do with love since she will have to recapture David's love after finding him in the bid city.

The final level that is universal here is the relations between a father, a mother and a son, not so much from the points of view of the mother or the father, but from the point of view of the son. When a son is raised in an atmosphere that is too heavy, he feels pressurized and will have the natural tendency of lying to be able to develop his own private and personal life. When time comes the son will have to leave and no one will be able to stop him. The father will have to be there because his absence is a loss and the son may go out to find him, to establish contact with him or any substitute or surrogate. The mother is essential too but she may be choking the boy into withering and that is lethal. It is natural that the son wants to go out and leave to live his own life. It is sick for any son to remain locked up in the family and his parents, and in this case his mother only. It is often easier for the father to accept the departure of his son than it is for a mother to accept and support it. This play insists on the necessity for the son to avoid excessive attachment to the mother and for the mother to avoid excessive overpowering control over the son. Strangely enough it seems that the presence of the father is a guarantee that the mother should not be overwhelmingly possessive. The mother cannot decide what the son will be and do, and what's more the mother must not decide what the son will be and do. But that is difficult for a mother, alienating in a way and frustrating.

When all that is said we have to wonder what makes this play black and not white. In fact only small details are typically black, starting with the numerous gospels sung in the church and in plain life. Then this musical dimension is at once widened by jazz brought in by the father, and then by the son, and here to we have a black reference.

But there are smaller details that show how black the play is. It is often connections with the other fiction by James Baldwin. Ida Jackson's son is called Daniel and one of the last songs in Just Above My head is also Daniel (with the "cup of trembling" brought by the burden of the Word of the Lord [Zechariah, 12:1-3], echoed by Sister Moore, the ambitious bigot, when she says that she has "to burden your [Margaret's] sister with a heavy burden" the way the son Daniel becomes a burden for Margaret in her lack of empathy) and this Daniel song is sung by Arthur Montana in Paris. This Daniel makes three male names with a Biblical dimension. This Biblical inspiration is basic in black religion and life.

Then Brother Boxer reporting on David says: ". . . not five minutes ago, I seen him down on 125th Street with some white horn player - the one he say he go to school with - and two other boys and three girls. . . That boy [David] had a cigarette between his lips and had his hand on one of them girls, a real common-looking, black little thing, he had his hand on her. . ." We can even note this report on the girl is slightly racist, at least condescending.

Margaret even goes one step further in the racist apprehension of the connection between David and some woman when she accuses David who arrives in the morning of his last Sunday in the family after a night out: "stinking from whiskey and some no-count dirty black girl's sweat."

But the main black trait of the play is the language which is Black American English all along. But apart from these few details and the language itself the play is dealing with universal themes and problems. And that explains why it was badly received by white critics who probably considered that black man was noty exactly minding his own black business, at the time of the first production, but at the same time it may explain the vast support and acceptance from the mostly black audience that came to see the show.

Dr Jacques COULARDEAU

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Sabtu, 28 November 2015

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Keep your spirits up: A comedy in three acts, by Francis Swann

  • Published on: 1983
  • Format: Import
  • Binding: Paperback
  • 95 pages

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Rabu, 25 November 2015

! Get Free Ebook Shadow Hour, by Ralph Tropf

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  • Sales Rank: #5958089 in Books
  • Published on: 2000-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.00" h x 5.00" w x .25" l,
  • Binding: Paperback

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1 of 1 people found the following review helpful.
Author's Comments
By Ralph Tropf
Shadow Hour is an exciting courtroom drama for the stage. A jury is given the task of assigning guilt or innocence to a United States Senator accused of sexual assault. As the jury debates the testimony, flashbacks to the trial show how the members of the panel interpret the evidence through thier own bias. Flashbacks to the actual events of the "crime" show how the witnesses themselves also add bias to the evidence. The truth is lost in shadows. STAGE PLAY for eight women and four men, one set.

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Minggu, 22 November 2015

* Ebook From Up Here, by Liz Flahive

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From Up Here, by Liz Flahive

4m, 4f / Dramatic Comedy Kenny Barrett did something that has everyone worried. He wishes he could just make it through the rest of his senior year unnoticed, but that's going to be hard since he has to publicly apologize to his entire high school. At home, his mother is struggling with a rocky start to her second marriage and a surprise visit from her estranged sister. A new play about a family limping out the door in the morning and coming home no matter what. Nominated for the 2008 Drama Desk and Outer Critics Circle Awards, From Up Here premiered at Manhattan Theatre Club in the Spring of 2008 with a flurry of praise. "Ms. Flahive's casual avoidance of hand wringing and sententiousness brings a breath of fresh air to a subject more often accompanied by torrents of the hot kind. The play has the bouncy humor of a quirky-family sitcom, but in this case the usual adolescent afflictions - acne and awkwardness, mean girls and cruel jocks - take a back seat to something larger, darker and more mysterious. One of the most insightful aspects of Ms. Flahive's writing is her understanding that even caring adults are struck dumb and left gaping for words in the presence of despair of such proportions."- Charles Isherwood, The New York Times "Marvelous. A gem of a debut. Ms. Flahive's language is almost always naturalistic, often sounding throwaway, and yet every line contributes to a growing impression of a living, breathing family." - Joy Goodwin, The New York Sun "Hip and smart! A fresh new voice." - The Daily News "One of the best and most emotionally satisfying works this season. Suberb!" - Theatermania

  • Sales Rank: #89659 in Books
  • Published on: 2008-11-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.99" h x .17" w x 5.00" l, .21 pounds
  • Binding: Paperback
  • 80 pages

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1 of 1 people found the following review helpful.
Subtle by nature
By Charlie
From Up Here is a play about the suggested actions of the main anti hero Kenny. Where he "planned" to bring a gun to school hit-list and all. Although Kenny may be the main character, he is by no means a leading man. All characters are needed and truly significant. This piece reflects the life after a young man makes a hit list and what his life is like at home and in school. The play is rated R, only by the scene in which Charlie attempts to talk to girl (Kenny's sister) and makes a fool of himself. The scene is risky but if done right is hilarious.

Not only is this a great play. It has great monologues, duet scenes and would make a fantastic one act if cut correctly.

Feel free to contact me if you have any questions.

0 of 0 people found the following review helpful.
and are pleased to do so
By Nouvelle
Well, it's not the text of the play that gets to you - it's in the performance. Reading about it beforehand does help - especially an audience member who is hard of hearing. We used to be able to get a copy from our local theater personnel, but lately playwrights have insisted that people should buy their own script. So we do, and are pleased to do so. Reading the written word is useful before and/or after seeing the play on the stage. This particular play is quite contemporary and sinks in pretty easily. But it's not a happy state of affairs....

0 of 0 people found the following review helpful.
Phenomenal
By Chris London
In my belief, one of the greatest plays in the last decade. It's hard to find a play that deals with such heavy material without pandering or being heavy handed, but From Up Here rivals Rabbit Hole in its light, realistic portrayal of an incredibly difficult subject. It's a great challenge for young, developing actors, and two students in my Meisner class saw tremendous growth while working on scenes from this play, after being stuck in place for months. I can't recommend this enough.

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Jumat, 20 November 2015

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The Runes Of The Earth: The Last Chronicles of Thomas Covenant, by Stephen Donaldson

In 1977, Stephen Donaldson changed the face of epic fantasy. With the publication of THE CHRONICLES OF THOMAS COVENANT THE UNBELIEVER, Donaldson created a true phenomenon: an epic fantasy instant bestseller that has gone on to sell millions. The 'hero', Thomas Covenant, is mysteriously struck down with a disease believed eradicated; he is abandoned by his wife and young son and becomes a pariah. Alone and despairing, Covenant falls - and is drawn into a mysterious new world, where gentle people work magic and the earth itself brings healing. He is welcomed as the reincarnation of a legendary saviour, but Covenant refuses to believe; he's convinced he's having delusions. At the end of the sixth book, as Covenant battles to save the world, he is killed - in both worlds - as Dr Linden Avery, his horrified companion, looks on. Now comes the book every fantasy reader has been waiting for. It's ten years later, and Linden Avery thought she would never see the Land, or Covenant, her beloved, again. But Lord Foul has stolen her adopted son, and is unmaking the very laws of nature. And though she believes Covenant dead, he keeps sending Linden messages: 'Find me', and 'You're the only one who can do this' and 'Remember that I'm dead'. The Land is in turmoil, and Lord Foul has plans for them all ...

  • Sales Rank: #1860098 in Books
  • Published on: 2004-10-21
  • Format: International Edition
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.13" h x 1.65" w x 6.77" l, 1.10 pounds
  • Binding: Paperback
  • 608 pages

About the Author
Stephen Donaldson spent 13 years in India, where his father was a medical missionary and orthopaedic surgeon; the idea for Thomas Covenant grew out of his father's work with lepers. The first trilogy won Donaldson the British Fantasy and John W. Campbell Awards. He is also the author of the Gap SF novels, the World Fantasy Award-winning collection REAVE THE JUST and a series of mystery novels. He lives with his family in New Mexico.

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0 of 0 people found the following review helpful.
The Runes of The Earth
By Antonio
The Runes of the Earth sets the mind on a thrilling adventure to the Land, a magical realm where certain individuals can enter and explore. Linden Avery, a middle aged woman, is able to go to the land where her true love, Thomas Covenant, dies fighting against Lord Foul, the evil of the Land. His death engulfs her in years to come. But a decade after her last visit to the land. Thomas's son, Roger, visits Linden during her work hours in a psychiatric hospital. He seems to disturb her, and her predictions came true as later than night he kidnaps her adopted son, Jeremiah, and his mother, Joan, who was a patient in the hospital. He kills two people along the way, leaving Linden with a bloody trail to follow. Linden is then whisked to the Land, finding out that Foul possessed Roger in order to kidnap her son. She now must search the Land for her son, she will meet old friends, make enemies, as new threats consume the Land of its beauty, all the while as Lord Foul gets stronger. It is a race against time, where life in the Land and the Earth is at stake.

6 of 7 people found the following review helpful.
Lightning strikes again for Donaldson
By J.A.
First, let me say: Bravo! Well done, Mr. Donaldson!

Next, I want to direct my comments to those readers who have never read any of the Covenant books, but are contemplating reading this book. Your main concern, undoubtedly, is, "How can I possibly enter a complex series at book seven? Won't I be so incredibly lost that it won't make any sense for me to buy this book and see what all the fuss is about Covenant?" Both questions are easily answered. Donaldson has taken extraordinary care to construct the beginning of this book in such a way that if you are entering the Covenant series at this late point, by the time you get to page 200, all that went before will be explained, and you'll (almost) feel as if you have read the first six books. He does this primarily in two ways. First, he has written a "What Has Gone Before" prelude, which succinctly wraps up the essential plots and dilemmas of the first six books into about eight pages. It is *superbly* done. Second, from almost the very beginning of the book itself, he meticulously and purposefully takes the reader back to prior events in the last two trilogies, while at the same time moving the story forward with the tremendous urgency of his past works. While someone like myself (who is probably more familiar with these books than I should be), can see what's happening as plainly as I can see that Shaquille O'Neal is a very large man, people less familiar with the work will not feel burdened or bludgeoned by what is, essentially, catching readers up. For reader like me, this will likely feel somewhat tedious as we know all of the legends of the Land. But for readers who are unfamiliar with the legends, you will find them to be like a drink from the source of a mountain spring. The stories and legends of the Land are as tantalizing, exciting, and wondrous as the story itself.

So - new readers to Covenant, feel safe. Whereas you couldn't jump into Book 7 of Jordan's Wheel of Time series, you can jump into the seventh book of this series. You will not be disappointed.

And now to the book. There is a wonderfully written 77-page "Prologue", which details the events that take place in the "real world", the events which lead to Linden and, perhaps others, to be conveyed to The Land. I read this in astonishment. I've read everything that Donaldson has ever written, and this was his best piece of writing. It was like reading Henry James. His descriptions were immaculately clear, the kind of descriptions that distinguish good writing from bad; the kind of descriptive writing that allows the reader to touch, feel, hear, see, and smell; the kind of writing that separates truly great writing from mediocre writing (which, sadly, accounts for about 90% of what's being published today, regardless of genre).

When we arrive in The Land, the threat is less clear than it was in the previous Chronicles. In the first, Lord Foul laid it out to Covenant in no uncertain terms - he was going to destroy The Land, destroy The Lords, and he stopped just short at telling him how he was going to do it, so great was his confidence. Foul's approach was distinctly Hitlerian, his tactics a blitzkrieg in every way. In the second, his attack was more insidious and subtle, but still devastating. Here he attacked nature, Earthpower; the Sunbane was a blight that all could see and feel, and the millions of readers who had fallen in love with the stunning beauty and tangible health of The Land in the First Chronicles couldn't help but to weep at the devastation. In the Last Chronicles, the threat is palpable, it is significant, and it is devastating (not to mention terribly creative). The difference is, the threat isn't only Foul. As we delve deeper into the book, and learn some of the secrets therein, we come to realize that The Land has more than one enemy, with perhaps a different agenda than Foul, and only one true defender with any estimable might: Linden Avery, The Chosen.

It is a testament to Donaldson's mastery of The Land that an entire book can be written in a series titled, "The Last Chronicles of Thomas Covenant", and not have Thomas Covenant in the book for more than ten seconds, and still have that book turn out to be a revelation. In other reviews of sequels, I have been critical, stating that they don't make sense - they don't follow logically from the prior book, or series. (For example, anything by Goodkind; The Mallorean by Eddings; Shannara.) I can't be similarly critical of Donaldson. His sequels follow a perfect logic flow. The Sunbane was *absolutely* what Foul would have done after spending three and half millennia licking his wounds, and while we don't know Foul's full intentions yet, the events that occur within The Runes of the Earth are exactly what they should be, considering the events of the First and Second Chronicles. Donaldson is not writing this to make money, although he is certain to make truckloads of it. He's writing this because he had a vision of how to complete the "Covenant cycle", and waited twenty-one (agonizing!) years to publish Runes because he needed to grow as a writer. Reading Runes, I understand him completely. This book placed demands on him as a writer that he has never encountered before, and the growth during the intervening years served him well.

The result is a book to be savored, reread, and added to the canon of great fantasy. If the First Chronicles were the War and Peace of fantasy literature, I wonder how this will be judged. It is superior - superior to something that is already recognized as one of the most important works of fantasy of all time.

2 of 2 people found the following review helpful.
The Runes of the Earth, by Stephen R. Donaldson
By Travis Knight
Donaldson's 'First Chronicles of Thomas Covenant' is easily my favorite fantasy series. The unabashed psychology that runs through it, as well as the rich metaphor, make it a strong trilogy, all the way through.

Unfortunately, the second chronicles isn't deserving of the same praise. Pushed to break away from Tolkien, Donaldson introduces a new protagonist, a more 'fleshed out' world, and a handful of other new things that I feel, ultimately, detracted from the quality of the writing. On top of Covenant's inward drawl, which was a key point of the first chronicles, you have Lindens. TWO clinically depressed, unbelieving malwarts of society don't make for a good inner dialog.

Thus enters the third and Last Chronicles of Thomas Covenant, beginning with this book, The Runes of the Earth. Runes is, by all counts, inferior to the First Chronicles. Yet it is superior to the Second Chronicles.

Runes of the Earth covers a LOT of ground in the Land, and the expanded world that surrounds it.

Where it stumbles is length. This is a book that could have been a lot shorter, simply by cutting the unnecessary drawl and some of the long, unnecessary, even boring conversations that add little. As I've read Donaldson's work many times over, I know what to look for in terms of foreshadowing; there's a lot of meh-versation in here.

Runes brings some very interesting characters to light. The Insequent, with their ever-changing and never-coherent alliances, forms, magics, and personalities, are the star of the novel. Not Linden, who is too far removed in her personal miseries to be a good protagonist. Not Anele, the schizophrenic, earth-powerful old man, who is only sane when he stands on bare rock. Not Thomas Covenant, Ur-God and Deus ex Machina, who occasionally possesses Anele, and certainly not any of the Haruchai.

In fact, the least human characters are the MOST human. The Thaumaturge, for example, or, in a brilliant scene, Lord Foul himself.

If you're a fan of the series, read Runes. It'll make up for the damage done by the second chronicles. If not, well, why are you looking here?

One complaint: "Kevin's Dirt?" Come on, Stephen. That's just weak.

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Selasa, 17 November 2015

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Death and deceit on the Nile (A murder a la carte mystery play), by Peter DePietro

  • Sales Rank: #5983041 in Books
  • Published on: 1996
  • Binding: Paperback
  • 43 pages

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0 of 1 people found the following review helpful.
Exactly as described
By Bree
The play book arrived exactly as described, and it got to me very quickly. Thank you.

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Senin, 16 November 2015

@ Ebook Download Sly Fox Comedy in Two Acts Adapted from Volpone, by Larry Gelbart

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Sly Fox Comedy in Two Acts Adapted from Volpone, by Larry Gelbart

Sly Fox (sly cooper) is a comedic play by Larry Gelbart, based on Ben Jonson's Volpone (The Fox), updating the setting from Renaissance Venice to 19th century San Francisco, and changing the tone from satire to farce.

  • Sales Rank: #204446 in Books
  • Brand: Brand: Samuel French Inc Plays
  • Published on: 1977-06
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 98 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

5 of 6 people found the following review helpful.
How to fall out of your chair
By A Customer
Larry Gelbart's free adaptation of the classic Samuel Johnson comedy "Volpone" was an enormous success on Broadway in the mid 1970s, where it starred George C. Scott as the duplicitous miser. It's less well-known today, seldom even shows up on little theatre stages, and deserves far greater recognition. In transposing the 300 year old Venetian comedy to American soil, Gelbart hit upon the happy solution of setting his version during the California gold rush, which gives the story a perfect grounding. "Sly Fox" follows "Volpone" in most of its particulars, but what sets it apart from most 20th century farce comedies is Gelbart's almost supernal gift for dialogue. The play contains lines and speeches only Gelbart could have written: the hilariously mixed metaphors, uproarious double-entendre and scintillatingly witty ripostes which distinguish this American genius' output (think "M*A*S*H" during its prime, when Gelbart was the series' most important writer). If you can read this play without sliding helplessly to the floor, you have no humor at all.

0 of 0 people found the following review helpful.
Plays better than it reads!
By Tara A. Palen
This is one of those plays that does not read as well as it performs. I recently appeared in it, and on my own first reading of it after having been cast, I was incredibly disappointed and thought the humor was quite flat and dated. At the first full cast script reading, I had tears rolling down my face from laughing so hard. It's all in what the actors can bring to these roles, and then it comes alive. Our audiences loved it! One of the funniest comedies I have been lucky enough to perform in.

0 of 0 people found the following review helpful.
Four Stars
By Robert D. Fox
AOK as described

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Senin, 09 November 2015

!! PDF Download H. G. Wells Classic Collection II: In the Days of the Comet, Men Like Gods, The Sleeper Awakes, The War in the Air, by H. G. Wells

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H. G. Wells Classic Collection II: In the Days of the Comet, Men Like Gods, The Sleeper Awakes, The War in the Air, by H. G. Wells

A second omnibus collecting more of H.G. Wells' best-loved works, cornerstones of early science fiction which are perfect for collectors and aficionados of great SF Four novels from the grandfather of science fiction are collected here in one package. In the Days of the Comet is a 1906 story in which the vapors of a comet bring about a profound and lasting transformation in the attitudes and perspectives of humankind. The 1923 novel Men Like Gods features a journalist who finds himself in a utopian parallel universe, and as the utopian attitudes begin to have their effect on him, he finds that he and his fellow travelers may be having their own effect upon the utopia. The 1910 dystopian tale The Sleeper Awakes centers on a man who sleeps for 203 years, waking up in a completely transformed London, where he has become the richest man in the world. Lastly, The War in the Air, from 1907, is notable for its prophetic ideas, images, and concepts, in particular the use of the aircraft for the purpose of warfare and the coming of World War I.

  • Sales Rank: #837398 in Books
  • Published on: 2011-11-17
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 2.10" w x 6.00" l, 2.60 pounds
  • Binding: Hardcover
  • 840 pages

Review
"Another fantastic gathering of Wells' science fiction works that fans of the author should enjoy." —SciFiChick.com

About the Author
H. G. Wells (1866–1946) is regarded as one of the all-time greatest authors of science fiction.

Most helpful customer reviews

1 of 6 people found the following review helpful.
h g wells classic collection
By ks chaturvedi
sir

i have received the book in fine condition and i an fully satisfied with it.
the five novels embodied in it are good and emjoyable

0 of 5 people found the following review helpful.
An extraordinary collection
By Dr. Angel E. Pacheco
I am highly-impressed by the overall quality of this H. G. Wells collection. I have not yet read it, so I cannot comment on this aspect of the tome, but the overall impression I got when I received it was that I was glad of its purchase and addition to our personal library.

0 of 5 people found the following review helpful.
H. G. Wells Classic Collection II
By Roger M
Appears to be a nice tome...looking forward to a fun read. Don't know what else to say other than it was a good value.

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Kamis, 05 November 2015

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Broadway Bound, by Neil Simon

Comedy

Characters: 4 male, 2 female

Combination interior set.

Part three of Neil Simon's acclaimed autobiographical trilogy finds Eugene and his older brother Stanley trying to break into the world of show business as professional comedy writers while coping with their parents break-up and eventual divorce. When their material is broadcast on the radio for the first time, the family is upset to hear a thinly-veiled portrait of themselves played for laughs.

"Contains some of the author's most accomplished writing."-The New York Times

"A lovely play; warm, perceptive and gently humorous."-Newsday

"Expectedly funny and unexpectedly moving."-New York Daily News

  • Sales Rank: #330676 in Books
  • Brand: Brand: Samuel French, Inc.
  • Published on: 2010-12-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.99" h x .25" w x 5.00" l, .28 pounds
  • Binding: Paperback
  • 120 pages
Features
  • Used Book in Good Condition

From School Library Journal

YA The final play in Simon's autobiographical trilogy, this is nothing short of brilliant. The story is both rib-tickling and heart-wrenching; the Jerome family is troubled, warm, and funny. The late 1940s finds Eugene Jerome trying to tackle television as a comedy writer while watching the deteriorating marriage of his parents and a grandfather who marches to his own drummer. Readers of this play will feel the joys and sorrows of a bygone era when family played a larger role in one's life. Simon's exquisite imagery and humor capture the love each of us harbors for our family but loses within our cluttered lives. This play will be an asset to any theater collection, as well as one that many will choose for recreational reading. Joseph Harper, Episcopal High School, Bellaire

Copyright 1988 Cahners Business Information, Inc.

Review
The last play in Simon's semiautobiographical Brighton Beach Trilogy, about aspiring writer ""Eugene Jerome,"" starts Eugene toward marriage and a career in writing comedy as his nuclear family undergoes various forms of fission around him. There are no weak links in the performance ensemble, only strong and stronger, with JoBeth Williams the standout for her often-affecting, even powerful, depiction of Eugene's mother. Of course, she does get the juiciest moments in this mixture of humor and drama. This deft production, while not profound, moves and entertains. The infectious laughter of a live audience enhances the experience. --AudioFile Magazine

This third and final installment in Simon's semiautobiographical trilogy of playsfollowing ""Brighton Beach Memoirs"" (1983) and ""Biloxi Blues"" (1985), recordings of which are also available from L.A. Theatre Workshas brothers Eugene and Stanley struggling amid a family crisis to write a radio comedy skit in preparation for a major audition. A 1987 Tony Award nominee, it is a powerful and compelling story mediated by deft comedic positioning perfectly executed by the eight-person cast, particularly by Scott Wolfe (as Eugene) and Alan Mandell (as Grandfather Ben), who provide most of the laughs. The sound effects further make this a rich listening experience. For those fond of old-time radio drama and comedy. --Library Journal

This third and final installment in Simon's semiautobiographical trilogy of playsfollowing ""Brighton Beach Memoirs"" (1983) and ""Biloxi Blues"" (1985), recordings of which are also available from L.A. Theatre Workshas brothers Eugene and Stanley struggling amid a family crisis to write a radio comedy skit in preparation for a major audition. A 1987 Tony Award nominee, it is a powerful and compelling story mediated by deft comedic positioning perfectly executed by the eight-person cast, particularly by Scott Wolfe (as Eugene) and Alan Mandell (as Grandfather Ben), who provide most of the laughs. The sound effects further make this a rich listening experience. For those fond of old-time radio drama and comedy. --Library Journal

From the Inside Flap
The final installment of the playwright Neil Simon's acclaimed biographical Eugene Trilogy, preceded by Brighton Beach Memoirs and Biloxi Blues.

Having returned from World War II, Eugene Jerome and his brother Stanley pair up to break into the world of professional comedy writing. Inspiration strikes when they aim their sights on their dysfunctional family and the network broadcasts it nationwide! A Tony Award and Pulitzer Prize nominee for Best Play.

An L.A. Theatre Works full-cast performance featuring Caroline Aaron, Dan Castellaneta, Kyle Colerider-Krugh, James Gleason, Alan Mandell, Jonathan Silverman, JoBeth Williams and Scott Wolf.

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6 of 6 people found the following review helpful.
The Jerome Trilogy's Poignant Finale
By NMdesapio
With 1986's BROADWAY BOUND, Neil Simon brought to completion the semi-autobiographical trilogy he began with BRIGHTON BEACH MEMOIRS (1983) and continued with BILOXI BLUES (1985). For those coming to BROADWAY BOUND never having read or seen the two preceding plays, a bit of context is needed. Eugene Morris Jerome is Simon's alter ego in all three plays, while Stanley Jerome, Eugene's older brother, is Simon's older brother, the TV writer Danny Simon (who died in July 2005). Eugene is the protagonist/narrator of all three plays. BRIGHTON BEACH MEMOIRS shows him struggling to find his identity among his large family in Brooklyn, New York. BILOXI BLUES depicts his first break with the family as he joins the Army. And BROADWAY BOUND, set in 1949, dramatizes a pivotal period in his life, made up of his efforts to launch, with Stanley, a comedy writing career - a career which would enable both him and Stanley to leave home permanently. As the decision to leave home is a major theme in BROADWAY BOUND, this comedy is arguably sadder in its tone than the two which precede it, or than nearly any other work by the playwright whose name has, in recent decades, become virtually synonymous with the term "Broadway comedy."
In terms of the Jerome trilogy, BROADWAY BOUND is a fitting culmination. It is an unusually complex comedy, alternating humor and gravity, and scenes involving three generations of family members: the elderly (Grandfather Ben), the middle-aged (Kate and Jack Jerome; Kate's sister Blanche), and the young (the sons, Stanley and Eugene). During the lengthy two acts, each character is "spotlighted" in turn: for example, Eugene in his monologues addressed to the audience and Kate in her long scene with Eugene in which she tells the story of how she once danced with movie star George Raft.
In terms of Simon's output up to 1986, BROADWAY BOUND is a culmination in that it includes elements of his previous comedies. Examples: Eugene and Stanley are, like Al and Willie in THE SUNSHINE BOYS, a show-business team whose real-life interaction is funnier than the material they produce (the brothers actually come to base their comedy sketches on their lives); like Felix Ungar and Oscar Madison, they are an "odd couple." BROADWAY BOUND can even be viewed as a tribute to American drama before 1986, since Simon's habit of emulating classic American plays is present in BROADWAY BOUND, which alludes unmistakably to both Clifford Odets' AWAKE AND SING! and Arthur Miller's DEATH OF A SALESMAN. Finally, BROADWAY BOUND was the play that changed many critics' opinions of Neil Simon, whom they had previously thought a superficial playwright; the play has even been called the finest of the 1980's. BROADWAY BOUND, then, is in several ways an important play, one which must be read and seen by anyone who loves American theatre.

3 of 6 people found the following review helpful.
Horrible end to such a light series.
By MAB
"Broadway Bound" marks the end of Simon's trilogy, and it's very dark and sad - not how I had hoped the trilogy would end. I found the characters different, but of course, you can say they matured, but Stanley was much more frantic than I remembered him to be. Eugene was much more level headed - not the sex-crazed teenage boy we knew and loved. Blanche lost her quirkiness, and the outcome of Jack and Kate disappointed me. The addition of Ben was what saved the play; the way Eugene played off of him was like "old times." I didn't feel the Jerome's were the Jerome's anymore. I do not recommend.

1 of 1 people found the following review helpful.
Stands on its Own
By Lucas Avery Lloyd
I experienced this play long before I experienced the other two plays in the trilogy, and I was never lost or confused. It immediately became one of my all-time favorite plays -- so funny, so poignant, so true. It's sadness is part of its richness. Highly recommended.

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