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Earthen Floors
Autor: Sukita Reay Crimmel
Publisher: New Society Publishers
File Size: 19,72 MB
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Down and dirty – a complete step-by-step guide to making, installing and living with beautiful, all-natural earthen floors For most of human history, people have lived in durable, comfortable buildings made from natural materials such as soil, sand, rocks and fiber. All over the globe, these ancient traditions persist; a quarter to a third of the world's population today lives in houses built partially or entirely of earth. Conventional Western building techniques using industrial materials may save time and create efficiencies, but these perceived savings come at considerable financial and environmental cost. As well as boasting a unique and beautiful aesthetic, natural building techniques are accessible, affordable and nontoxic. Earthen Floors: A Modern Approach to an Ancient Practice is the first comprehensive, fully illustrated manual covering the history, use and maintenance of this attractive, practical flooring option. This detailed, fully-illustrated guide explains every part of the process, including: Sourcing and harvesting materials Preparing the subfloor Pouring, finishing and sealing the floor Living with and maintaining your earthen floor. Because information on creating quality earthen floors was not previously widely available, there have been some negative experiences. Drawing on the combined knowledge of the most qualified earthen floor practitioners, as well their own substantial experience, the authors deliver the definitive resource for this exciting technique, perfect for everyone from the novice to veteran builder.
Earthen Floor Wall Tiles
Autor: United States Tariff Commission
Format: PDF, ePub, Docs
Rammed Earth Conservation
Autor: C. Mileto
Publisher: CRC Press
Includes a free CD containing the full contents of the book. The rammed earth technique, in all its variants, is widespread all over the world. This enormously prevalent building technique harbours an important richness of varieties both in application and in materials used. Interventions on historical rammed earth buildings have also been carried out in all the geographical areas where these structures are found. This historical heritage has undergone diverse forms of reconstruction, conservation, repair, substitution and/or structural consolidation. The different criteria applied require different techniques, materials or forms of intervention. The results of the interventions have also been manifold, both in terms of the impact on the building and the technical and material durability. With a view to these issues, this book deals with rammed earth architecture and its restoration, and, in a more general sense, with the construction techniques and restoration of all earthen structures. Rammed Earth Conservation will be a valuable source of information for academics and professionals in the fields of Civil Engineering, Construction and Building Engineering and Architecture.
Leed Practices Certification And Accreditation Handbook
Autor: Sam Kubba
Publisher: Butterworth-Heinemann
Adopted in the United States and a number of other countries, LEED certification is the recognized standard for measuring building sustainability. Achieving LEED personal certification or project certification is the best way to demonstrate that the project is truly "green." Written by an architect with over 30 years of international experience, this book provides architects, designers, building owners, and construction engineers with an easy to understand guide to the nuts and bolts of LEED project and personal certification. Written in plain and easy to understand language, this ?hands on? book is designed to assist readers with all aspects of LEED certification. The handbook follows the rigorous third-party commissioning process, beginning with basic LEED concepts, and then carefully explains LEED documentation and technical requirements along with its standards, professional accreditation, and codes. The handbook provides readers with design strategies for sustainable site selection, and design process for high performance building and commissioning. Other important topics include green materials and products selection as well as strategies for ensuring Indoor Environmental Quality (IEQ), water efficiency and sanitary waste disposal. This handbook also offers readers a multitude of forms with expert guidance for their completion. Clear and authoritative in scope, LEED Practices and Accreditation Handbook provides architects, builders/owners, construction managers, and engineers with a reference that will help them to offer their clients, peers, and the public at large compelling proof that they have achieved their projects environmental goals and that the building is performing as designed. Instruction for completing LEED checklist and forms Detailed explanation of the third-party commissioning process Explains LEED documentation & technical requirements Topics include green materials and products selection
5 Steps To A Dry Basement Or Crawl Space
Autor: Ron Gay
Publisher: Ronald K. Gay
File Size: 5,81 MB
It's raining, and water starts seeping into your home's basement; what can a homeowner do? Fortunately, a new comprehensive book from Welkin House can help fix that wet basement problem without expensive waterproofing methods. The author, Ronald Gay, is a veteran in the field of residential construction and consulting for more than 20 years, specializing in wet-basement consulting for more than 10 years. In this ground-breaking guide for homeowner and professional, new lessons are taught that make all the difference in solving this stressful, home-maintenance nightmare.
The Complete Farmer Or A General Dictionary Of Husbandry
Roman Woodworking
Autor: Roger Bradley Ulrich
This book presents an authoritative and detailed survey of the art of woodworking in the ancient Roman world. Illustrated with over 200 line drawings and photographs, Roman Woodworking covers topics such as the training and guild memberships of Roman carpenters, woodworking tools and techniques, the role of timber in construction and the availability of trees, and interior woodwork and furniture making. It also includes an extensive glossary of fully defined terms. This comprehensive book displays the accomplishment of the Roman woodworkers and their high skill and knowledge of materials and tools. Ulrich helps bring to light the importance of wooden projects and structures in Roman daily life and provides a wealth of information not only for classicists but also for those interested in the history of technology and the history of woodworking.
Adios To Tears
Autor: Seiichi Higashide
Publisher: University of Washington Press
Adios to Tears is the very personal story of Seiichi Higashide (1909�97), whose life in three countries was shaped by a bizarre and little-known episode in the history of World War II. Born in Hokkaido, Higashide emigrated to Peru in 1931. By the late 1930s he was a shopkeeper and community leader in the provincial town of Ica, but following the outbreak of World War II, he�along with other Latin American Japanese�was seized by police and forcibly deported to the United States. He was interned behind barbed wire at the Immigration and Naturalization Service facility in Crystal City, Texas, for more than two years. After his release, Higashide elected to stay in the U.S. and eventually became a citizen. For years, he was a leader in the effort to obtain redress from the American government for the violation of the human rights of the Peruvian Japanese internees. Higashide�s moving memoir was translated from Japanese into English and Spanish through the efforts of his eight children, and was first published in 1993. This second edition includes a new Foreword by C. Harvey Gardiner, professor emeritus of history at Southern Illinois University and author of Pawns in a Triangle of Hate: The Peruvian Japanese and the United States; a new Epilogue by Julie Small, cochair of Campaign for Justice�Redress Now for Japanese Latin Americans; and a new Preface by Elsa H. Kudo, eldest daughter of Seiichi Higashide.
The New England Farmer
The Technical Repository By T Gill
Autor: Thomas Gill (patent-agent)
The Camper Van Cookbook
Bringing Columbia Home
The Secret Lives of the Kudzu Debutantes: A Novel
Writing the Pilot
The Boy Who Harnessed the Wind LP
The Skinny French Kitchen
zzWar That Saved My Life
Slinky Malinki's Christmas Crackers
Whenever You Remember
Sole Survivor 27 Copy Bin
The Daily Drucker
I Really Didn't Think This Through
One Line at a Time, Encore
50 Things You Can Do with Google Classroom
My Dear Bessie: A Love Story in Letters
vu lvete Imparable! Volumen I
Bitter Spirits
Turkey - Culture Smart!
Doctor Who Daleks: The Chase
Dragons Love Tacos
El sillenci parla
Gathering Darkness
Blasphemy: A Novel (Wyman Ford Series Book 2)
Steam & Sorcery (The Gaslight Chronicles Book 1)
Absinthe and Flamethrowers
Odd Apocalypse / Deeply Odd
Basics. Gran libro de palabras
The Witch's Book of Spirits
Coffee Gives Me Superpowers
Nature Stories (New York Review Books Classics)
Der Seufzersee
Tarot of the 78 Doors
Pantsuit Nation
Criptionary
The School Psychologist's Survival Guide
Flügel der Dunkelheit (German Edition)
Three to Get Deadly
Lujo y Poder
Hazardous Waste Compliance
Confessions of a Public Speaker
Altin Aslan
I Was Interrupted
Thinking Through Methods: A Social Science Primer
Dive Into Python 3
Sound Thinking
The New Jewelers
Italian Vocabulary (Quickstudy: Academic)
Keep Fresh, Stay Rad Postcard Box: 100 Postcards
The Iran-Iraq War - Volume 1
Fruit and Vegetable Growing in Australia
Concise Rules of APA Style
Be Good to Your Gut
The Admiral Benbow
The Ultimate Kauai Guidebook
Zlo czai sie wszedzie
The Shackled Continent
The Family That Couldn't Sleep
On Obligations
A History of the Supreme Court
The Coming of God
Suzuki Violin School, Volume 1
America's Daughter
The Art of Making Money
Batman Incorporated Vol. 1
New Beginnings (Yaoi)
CAD for Interiors Basics
Past Tense: A Jack Reacher Novel


It's that time of year to see who has been naughty and nice, and you can bet Santa is making a list and checking it twice. One of my kids favorite things to do as soon as December arrives is write their letters to Santa. This year I thought it would be fun to create a fun DIY Letter to Santa Felt Envelope to use as decorations and a keepsake for those special letters.
You may have already seen my Letters to Santa themed Christmas tree that I created for the Michaels Dream Tree challenge. This year my tree payed homage to that glorious Christmas season tradition and the anticipation that accompanies writing letters to Santa. If you are like me, or my kids, you fondly remember that tingling excitement of writing out your wish list and sending it off to the North Pole.
One of my favorite things that I created for my tree were the DIY Letter to Santa felt envelope ornaments and garland. I also made one for each of my kids so they could have a keepsake and reminder of this beloved Christmas tradition. There are so many ways you can use these cute envelopes, and the best part is they are easy to make.
Use your Cricut Maker to cut out the felt envelopes.
Fold the envelope and use the Cricut EasyPress to press the envelope. Next, stitch a border along the outside of the envelope with the white embroidery thread.
Cut out the white iron-on vinyl decals for the front of your envelope. Mine all said "To: Santa Claus, North Pole" and then had a stamp and post mark. On a few of the bigger ones I wrote things like "Special Delivery", "Imporant" ect.
Place the white iron-on vinyl on the front of the envelope and use the Cricut EasyPress to adhere it to the envelope.
Flip the envelope over and sew on a button and loop of thread to "seal" the envelope.
Have your kids write their letters to Santa and put them inside these special envelopes. You can download this free "Official Letters to Santa" template to make those letters extra special this year. I create a fun "Dear Santa" Letter Writing Kit for Oriental Trading and I think these cute felt envelopes would be a great addition to include in the kit for a special holiday keepsake.
Or you can use the envelopes for decorations. Add a loop of red and white Baker's twine to the corner of the smaller envelopes to create cute ornaments for your Christmas tree. You can string the larger envelope on the Baker's twine and hang it from the mantle for a festive and fun garland.
I am having so much fun with our magical North Pole themed Christmas this year. From the whimsical Polar Post Letters to Santa Christmas Tree to Mrs. Claus Baking kit we are already having so much fun this holiday season and looking forward to creating even more extraordinary memories this year!
How would you use these DIY Letters to Santa Felt Envelopes?


Vetho Apartments Hotel is centrally located in the hub of Kempton Park, less than 10 minutes' drive from OR Tambo International Airport. Accommodation is provided in stylish and modern apartments, all fully fitted for self-catering.
Guests can choose to stay in one of the Studio one-bedroom apartments or the Double Room apartments. Each apartment offers a fully fitted kitchenette and en-suite bathrooms. All the bedrooms are fitted with air-conditioning and TVs with DStv. Bedding and bath towels are provided.
the rooms are spacious and clean.
Vetho Apartments Hotel is 5.1km from the centre of Kempton Park , the nearest airport 3.5km (Johannesburg International Airport).


Muhammed BS Jallow, Permanent Secretary at the Ministry of Education told reports yesterday that the resulsts of the West African Senior School Certificate Examination dubbed WASSCE has shown significant improvement.
He went into details to show that the performance this year is better than last year. He said 2,183 candidates or more, have five credits in 2018 compared to 1,656 in 2017.
PS Jallow disclosed this during a press briefing with the media personnel at the Regional Office of MoBSE in Kanifing, with a view to clarify and allay the fears of the public on issues regarding the WASSCE 2018 results.
PS Jallow said out of 2,183 candidates who have 5 credits or more, 1,029 are female and 1,154 are male; that going by Regions, 1,036 candidates come from Region One, 851 from Region Two, 80 from Region Three, 55 from Region Four, 85 from Region Five and 76 from Region Six".
He cited reports have circulated that only 475 candidates passed the WASSCE 2018 Exams which he clarified, represents the number of candidate with 5 credits including English and Math; that the report interprets everybody outside this number as a failure and excludes 1,629 candidates who have 5 credits or more with a pass in English or Math or both, and giving them access to University.
PS Jallow disclosed improvements in Regional Schools such as Kuntaya and Soma Senior Secondary Schools as examples, where the number of credits in English have increased from 0.0 and 3.8 percent to 8.3 percent and 54.2 percent from 2017 to 2018 respectively, in English; that the number of credits in Mathematics also improved from 1.4 and 41.8 percent in 2017 to 4.2 and 88.6 percent in 2018.
He said the 2016-2030 Education Sector Policy, is premised on The Gambia's National Development Plan and the Sustainable Development Goals (SDGs), all of which he added, are the developing agenda of Government, to improve the human capital of the country by reducing the number of people living below the poverty line.
"To achieve the set goals in this policy, the Ministry is working to achieve quality education. Consequently, special focus is on quality teachers with resources geared towards the continuous professional development of teachers, through In-Service Training," he said.


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Switzerland and Romania
The Swiss embassy and the Swiss Contribution Office for Romania publish a newsletter containing information on culture, science and politics
Local job vacancies open at the Swiss embassy / Swiss Contribution Office for Romania
Embassy of Switzerland in Romania
Regional Consular Centre South-East Europe
Provides consular services and visa support for people resident in: Roumanie, Bulgarie
Swiss Contribution Office Bucharest
All consular services and visa support for people resident in Romania and Bulgaria are provided by the Regional Consular Centre South-eastern Europe Bucharest. Information can be found on the websites concerned:
Travel advice for Romania
Bilateral relations Switzerland–Romania
Projects in Romania
Switzerland supports 59 projects in Romania with its EU enlargement contribution
Thematic Funds in Romania
In Romania the SDC is working with thematic funds in the areas of health, public security, civil society, research, and integration of the Roma and other minorities.
Results in Romania
Switzerland uses its enlargement contribution to take part in a capital and loan fund to create jobs, support the Romanian police reforms and promote a sustainable energy policy
Bilateral Framework Agreement with Romania
Switzerland has concluded a bilateral framework agreement with Romania. Switzerland decides in consultation with Romania and independently of the EU which projects it will support
News, highlights and information on the projects in Romania
Federal archives
Cantonal Archives
The information required for research on one's ancestors in Switzerland differs from what is usually required in other countries. In Switzerland civil status data (birth, marriage, death) is not only registered at the place where the event occurs but also at each Swiss citizen's place of origin.
If you do not know the exact place of origin of your ancestors you can begin your research with the registry office responsible for the registration of their birth, marriage or death so as to determine their place(s) of origin.
The religion of your ancestors can also play an important role. Up to 1876, religious communities were in fact competent for the registration of civil status events.
The place of origin also known as "rights of citizenship" corresponds in Switzerland to the municipality from which a Swiss citizen obtains his or her citizenship rights. It is mentioned in the civil status documents (e.g. birth, marriage and death certificates) as well as in identity documents (such as the passport or identity card) of Swiss citizens – unlike in some countries which mention the place of birth.
Questions regarding the existence of Swiss ancestors should be addressed to the registry office competent for your place of origin or the place of origin of your ancestors if this is known. When the requests go back as far as the 1870s the research can be pursued in the relevant cantonal archives.
In the Old Swiss Confederacy the place of origin was the place where one's ancestors lived or acquired their rights and obligations including their rights of citizenship. The place of origin is thus of particular significance because, since 1876 or in any case as a general rule since 1800, it has been necessary to register civil status data there regardless of where the event in question took place. Only events which have been reported to the place of origin, however, are recorded there. No cantonal or national registers of emigrants existed prior to the year 1900. It is for this reason that the competent location (place of origin) needs to be found.
Civil status registers
The official registration of civil status data – notably births, marriages and deaths - did not begin in Switzerland until 1876. In certain conditions civil status officials will provide information in writing and access to old registers, for a fee.
Federal Office of Justice – list of civil status districts (de, fr, it)
Church records (parish registers)
The recording of civil status data in the records of reformed churches began in the 16th century in two thirds of the parishes. Roman Catholic priests did not begin to keep such records until 50 years later.
The old church records can today be found in the archives of the parish or municipality concerned. Some old registers have been recorded on microfilm. As with civil status registers, state archives also have reference lists and can inform interested parties about church records that are available on microfilm.
Regional consular center South-eastern Europe
16-20, Grigore Alexandrescu Str.
Headquarters southeasterneurope@eda.admin.ch
010626 Bucharest 1
Emergencies outside the office hours
Romania and Bulgaria

redpajama_set_name: RedPajamaCommonCrawl


text:
package com.designpattern.extra.specification;

public class AddSpecification<T> extends CompositeSpecification<T>{
	private ISpecification<T> left;
	private ISpecification<T> right;
	public AddSpecification(ISpecification<T> _left, ISpecification<T> _right) {
		this.left = _left;
		this.right = _right;
	}

	@Override
	public boolean isSatisfiedBy(T candidate) {
		return this.left.isSatisfiedBy(candidate) && this.right.isSatisfiedBy(candidate);
	}

}

redpajama_set_name: RedPajamaGithub


text:
Billy's Acoustic Jam, Sunday 1 March
Photo by Matheus Ferrero on Unsplash
BILLY'S ACOUSTIC JAM – Sunday, March 1st, 4-8pm, upstairs at The Office bar in Riddiford Street, Newtown.
This is a new Acoustic Routes event, initiated and hosted by local guitarist and singer-songwriter Billy Lyrical, who is keen to provide more opportunities for people to meet up and jam. He will provide the chords and the inspiration to get you going, so, he invites you to bring itchy fingers, twitching antennae and acoustic instruments for harmonic, melodic, improvisating, shredding, jazzifications.
Come along and start the new month with a new activity!
The Downunderdogs at Acoustic Routes, Thursday 27 February
The Downunderdogs
Roseneath School Hall, Maida Vale Road, Thursday 27 February, 7.30 pm
The Downunderdogs are Jack MacKenzie, Peter Dyer and Cathy Dyer. This three-part vocal/instrumental blend features first-class flatpicking, stellar songwriting, heavenly harmonies, and lots of laughs.
Like their music, Jack, Peter and Cathy are American born and bred. They enjoy discovering, digging into and arranging "Americana" country, bluegrass, old-time, and swing music. This includes originals by Jack and Peter.
Jack's flat-picking is inspired by Doc Watson. He has picked with Doc and a host of other stars at McCabe's Music—the legendary venue Jack managed and performed at in Los Angeles from 1971 to 1980. He is now building his own Simian Ridge guitars.
Peter plays rhythm guitar and loves singing and yodelling Hank Williams and Jimmie Rodgers. Two of his best known compositions are "Go Ahead and Cry" and "The Immigrants' Song."
After years of listening to Peter and Jack play, Cathy finally added the big double bass and chimed in for three-part harmonies. The Downunderdogs have been featured at Wellington Folk Festival, Wellington Bluegrass Society, and Auckland Bluegrass Society, and come to us fresh from this year's Kiwigrass Festival.
Karen Munro
The Downunderdogs will be supported by one of our new Committee members, Karen Munro. Writing songs since a teenager, Karen has been playing round the folk scene in Wellington for a few years. Her songs touch on various genres, from blues to jazz, from trad to country.
Before coming home to Aotearoa, Karen led a wayward youth playing in and sometimes fronting various bands in the UK with a mostly punk, grunge, metal flavour.
A multi instrumentalist, she plays guitar, mandolin and fiddle and accompanies herself on the guitar and occasionally the mandolin. Look out for her first solo album, due to be launched later this year.
Ticket Price: $20 ($15 members) – cash only, no eftpos facilities. Supper provided.
February 2020 Balladeer
You can download the February 2020 Balladeer here.


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Estádio Jornalista Mário Filho more commonly known as Maracanã Stadium named after the neighbourhood it is located in, is the largest stadium in Brazil with a 74,738 capacity, and second largest in South America. Partially rebuilt for the 2014 World Cup and curtain raising Confederations Cup a year earlier, it now the home of three local sides.
Estádio do Maracanã is a purpose built football stadium located in the city of Rio de Janeiro within a wider sports complex known as Maracanãzinho, which means roughly translates to English as "the Little Maracanã". The Stadium is regarded as one of the iconic venues of world football having hosted the opening match of the 1950 World Cup and the final of Fifa's 2014 tournament.
Inheriting its popular name from the Maracanã neighborhood which it resides in, the stadium officially known as Estádio Jornalista Mário Filho, after the local reporter who vocally supported its construction, originally opened with a capacity just shy of 200,000 making it, at the time, the world's largest stadium, significantly larger than England's Wembley Stadium.
With a conversion to seating in the 1990s after the death of three spectators when an upper section of the stand collapsed, the capacity greatly reduced. Estadio Maracana was classified as a National Landmark in 1998 which greatly reduced the scope of a complete demolition and rebuilding work. This meant original plans were scaled back for the 2014 World Cup which resulting in a capacity of 78,838 – less than half the original size albeit all seated.
The new Maracana reopened on the 30th May with a friendly match between Brazil and England which resulted in an entertaining 2-2 draw. The stadium was then used for the 2013 Confederations cup which served as a curtain raiser to next years World Cup.
With Brazil's opening match held at Arena de São Paulo, the national team never got to play at Estadio Maracana during the tournament after being eliminated in the semi-finals by Germany.
Estadio Maracana is comprised of four stands: North, East, South and West.


Billie Piper and the cast of Yerma have kick-started Equity's Safe Space campaign, which was developed following accusations of harassment in the theatre industry.
The campaign is aimed at encouraging members "to have the confidence to challenge inappropriate behaviour and to report it knowing that the union is always there for them".
As part of the campaign, posters have been distributed that highlight the union's harassment helpline.
In addition, Equity is calling for a specially created statement to be read out at the beginning of each new rehearsal period, which underpins a company's commitment to create spaces "free of bullying and harassment".
Yerma has recently opened in New York, but had been rehearsing in London.


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The Discoverer
8th Grade STUCCO Elections
Antonia Velez
This is Antonia Velez, the newly elected STUCCO for 8th grade during 2020-2021.
Samuel Zuluaga Mendez, Discoverer Staff Writer
Antonia Velez was elected as 8th grade STUCCO representative last week with 40% of the votes and she will be working to get back to school as soon as possible.
Each sociales class had 2 candidates with similar proposals. Elections were held virtually due to the COVID-19 pandemic, which has made this a difficult year for everyone and is the most important task for the new 8th grade representative.
"This is a crucial time for everyone and distance learning is not easy for some of us. I feel it is very important to make everyone feel good with everything," Juana Upegui, 8th grade runner-up, said.
Velez thinks it is important to be closer than before. She thinks it is important to have a close and unified year. She claims she wants to be "the voice of the people that can't stand up for themselves."
"I want to run for STUCCO because I think it is a great opportunity to connect more with my classmates and to be the voice for them," Velez said.
For many, returning to school is one of their priorities but not an easy task. Other candidates have also focused their campaigns in virtual learning.
"It is really difficult to have everybody be together during this pandemic, but I am trying my best," Velez said. "It affects my proposals because this is a crucial time for everyone and distance learning is not easy for some of us."
Being together at school, with the appropriate biosecurity measures, is one of Velez's main proposals.
"I want to have more benches in school, with distance due to the pandemic," Velez said.
Other runner-up candidates agree that the students have to be more united and connected.
"Another one of my proposals for when we go back to school is to make salidas pedagogicas," Upegui said, "It is important for the grade and the people to be connected."
This will certainly be a challenging year for Velez and all of the STUCCO representatives. Velez claims she is ready for the job.
"I have leadership skills and I am very social. I love talking and helping. I am suitable for this position," Velez said.
COSMUN 2019 News: Day 2
COSMUN News 2019: Day 1
A Tribute to David Watson
Lightning Blue Lizards Robotics Team Season Recap
Alumni Begin a New Semester in the Middle East
Face to Face Classes Will Reopen at TCS
Homecoming: Students Safe Return to Campus
Technology's Effect on Students Health during COVID-19 Pandemic
12th And 11th Grade Elections In Times Of Covid
Technology: Indispensable in a Lockdown
Gaming, the Result of Surviving Quarantine
A Routine During These Hard Times
Tales of Procrastination
Baking: The New Therapy
The Columbus School News Portal


A quantitative survey was administered to public library staff across the United States via an email inquiry and an anonymous online Web survey form as can be seen at http://www.ourdeskdrawer.com/librarysurvey/index.php?sid=49372&lang=en which asked their thoughts on public domain, creative commons, and CCO. Of 715 inquiries sent, 113 responses were received. Overall, our results were surprising in that while all librarians who completed the full survey (n=54) knew at least to some level the definition of public domain, only 36% were able to define creative commons and only 19% were able to define CC0. This means that a great majority of librarians were not even aware of these services.
After initial questions on the definitions of public domain, creative commons, and CCO librarians were asked to describe how they see items in the public domain affecting a) social and cultural perceptions of copyright and/or intellectual property; b) legal perceptions or practices of copyright and/or intellectual property, c) practices of citation and attribution, d) public libraries generally, and e) generally negative or positive perceptions. Results in every category were considerably mixed. Next, Everett Rogers? four main elements in the diffusion of innovations were used as the theoretical framework. The four main elements are the innovation itself, communication channels, time, and the social system. Again, the results were mixed.
The book Contemporary Technology, notes technology transfer is ?the process by which technology developed for one purpose is employed either in a different application or by a new user.? (Markert & Backer, 2003). It also describes two important aspects of technology transfer study to include the nature of the transfer item itself and the recipient?s capacity to adopt the technology once it has been transferred. A key aspect of a recipient?s capacity to adopt a technology involves awareness and knowledge. This preliminary research points to only limited knowledge of public domain, the role of creative commons, and the function of CCO even among public library staff whose primary function is to share resources with the local public they serve. This plays a role both directly and indirectly in synergies between open education, creative commons and other alternatives to full copyright restrictions, and more traditional public means to data and information access available via resources such as public libraries.


text:
On Writing Well: The Classic Guide to Writing Non-Fiction
"On Writing Well" has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the ar "On Writing Well" has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, "On Writing Well" offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sole, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.
30 review for On Writing Well: The Classic Guide to Writing Non-Fiction
Roy Lotz – Nov 02, 2013
It's always intimidating setting out to write a review of a book on writing. One feels naked, exposed—now you have to prove that you've learned something. Lucky for me, I am a creature with little shame, so I'll let my prose all hang out. After reading Pragmatism by the American philosopher William James, I've realized that some American qualities cut deep. We are a people who love action and despise abstract argument. We like to see efficiency and real-world results. We set ourselves a goal an It's always intimidating setting out to write a review of a book on writing. One feels naked, exposed—now you have to prove that you've learned something. Lucky for me, I am a creature with little shame, so I'll let my prose all hang out. After reading Pragmatism by the American philosopher William James, I've realized that some American qualities cut deep. We are a people who love action and despise abstract argument. We like to see efficiency and real-world results. We set ourselves a goal and go straight for it. Perhaps this American temper is part of the "Protestant Ethic," made so famous by Max Weber. Whatever it is, it's on full display here. What Zinsser is doing in this book is applying a capitalist sensibility to prose. Keep it simple. Economize. Cut out the fat. Go straight for the point. Zinsser's approach to writing is that of a factory owner seeking to improve his business model. This leads him to a straightforward adoption of the axioms of The Elements of Style. In fact, this book is hardly more than a commentary, expansion, and application of Strunk and White's ideas. I grow tired of this. The more I read, the more I realize that what constitutes good style cannot be put into a formula. It varies from person to person, from subject to subject, from country to country, and from age to age. Zinsser's writing-style is nice enough. But I'm sure his conversational tone would sound coarse and inelegant to many readers. Where's the poetry? Where's the lofty argument and philosophical reflection? Of course, you can't please everybody. What bothers me is that Zinsser doesn't seem realize how provincial are his ideas. What you will learn in this book is how to do a specific type of writing: journalistic nonfiction. It's writing well-suited to its purpose—to provide entertainment and light education for casual readers. This is a great skill, and Zinsser has some great advice. If you have aspirations to work for a newspaper or a magazine—or even write a popular non-fiction book—I would highly recommend this book. I have no problem with this kind of writing-style—my mother is a journalist. But it hardly runs the whole gamut of nonfiction. And for pretentious me, Zinsser comes across as a bit vulgar. His conception of language is narrow. He wishes only to hook the reader, crack a few jokes on the way, maybe include some light food for thought, and make a quick exit. It's like an ad on TV. But often non-fiction writers have—dare I say it?—higher aspirations. And a quick-shooting, hard-hitting, punchy prose style just won't do the trick. I should temper my criticisms. I've read too much illegible academic scrawling to be insensitive to the value of concreteness and simplicity. As general rules, they're safe to abide by. And if you are writing as a craft—a professional email for example—then you would do well to follow Zinsser's advice. Where this book falls short is Zinsser's insensitivity to the artistic potential of the written word. He admits this himself I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had any idea of what is being conveyed. I commend Zinsser for his honesty. But for several genres of writing, an overly-literal mindset is a death-sentence. And in any genre, a great metaphor is worth fifteen spiffy sentences and peppy paragraphs. At its best, non-fiction writing is more than chuckles and trivia—it can be just as profound as the best novel or poem. (Read The Decline and Fall of the Roman Empire if you don't believe me.) Zinsser does have a chapter entitled "Nonfiction as Literature," but it quickly becomes clear that he regards even Nabokov's memoir as a kind of journalism. So if you wish to read a snappy book on snappy writing, On Writing Well satisfies. But be warned: this is simply an elegant articulation of one philosophy of style. And there are as many different philosophies of style as there are great writers. And Zinsser is a good writer, not a great one.
Rowena – Feb 12, 2013
Brilliant book!I definitely learned a lot of extremely useful advice from this book. I learned about the writing mistakes that I was making, and also how to enrich my own writing. Zinsser's tone and sense of humour made reading the book fun and interesting. This is the kind of book I would re-read every now and then for inspiration. Brilliant book!I definitely learned a lot of extremely useful advice from this book. I learned about the writing mistakes that I was making, and also how to enrich my own writing. Zinsser's tone and sense of humour made reading the book fun and interesting. This is the kind of book I would re-read every now and then for inspiration.
Francisco – Oct 17, 2015
How do you learn to write, really, other than by writing. But now and then, it's good to pause and think about the art of good writing, the craft. This famous little book can be the reflective pause that will help you be care-full, love-full, with your work. The book is not just more of the same old stuff you've always heard. The advice given by the author is creative and his examples of good writing are informative and insightful. And because good writing is always connected to the inner life a How do you learn to write, really, other than by writing. But now and then, it's good to pause and think about the art of good writing, the craft. This famous little book can be the reflective pause that will help you be care-full, love-full, with your work. The book is not just more of the same old stuff you've always heard. The advice given by the author is creative and his examples of good writing are informative and insightful. And because good writing is always connected to the inner life and moral depth of the author, much of what he says applies to the ultimate source of the written word: the writer's attitude, her attention and integrity. Don't let the "nonfiction" in the title deter you from reading this if you write fiction. The chapter on "travel writing" is an on-the-button presentation on the creation of "place" which is essential in fiction. Read slowly, let the humor and common sense of the author seep into your writing blood so that it may flow out spontaneously in your words. But maybe the best gift this book will give you is the sense that you, the writer, are but a humble, ordinary worker using skill, intelligence and heart to create something beautiful and true.
Alissa – Sep 05, 2010
Zinsser's first few chapters talk solely about eliminating clutter and simplifying your work... yet his book is more than 300 pages of repetitive, hypocritical and lengthy sentences. This book could have been easily shortened to 50-100 pages. I was not a fan of his many examples (quite frankly, I skipped over most of them). Most of all, I wish Zinsser followed his own advice - simplify, and trust your material (don't feel the need to explain almost every single principle; we get it). The book, h Zinsser's first few chapters talk solely about eliminating clutter and simplifying your work... yet his book is more than 300 pages of repetitive, hypocritical and lengthy sentences. This book could have been easily shortened to 50-100 pages. I was not a fan of his many examples (quite frankly, I skipped over most of them). Most of all, I wish Zinsser followed his own advice - simplify, and trust your material (don't feel the need to explain almost every single principle; we get it). The book, however, offered sound advice which I was lucky to dig out from the rest of the nonsense: "Be yourself." "Forget the competition and go at your own pace." "Your only contest is with yourself." "Never let anything go out into the world that you don't understand." "Never forget where you left your reader in the previous paragraph and what they want to know next." "Your best credential is yourself." "Decide what you want to do. Then decide to do it. Then do it."
Shanae – Apr 29, 2012
This book may have a few valuable suggestions throughout, but it is difficult to reap Zinsser's lessons through his sexism and eurocentrism. He uses his own work (Haircurl) in the "Humor" chapter for no good reason because he really doesn't do anything with it except to show that it is funny. Unfortunately, it is not funny, and it is actually quite offensively mocking women. In "A Writer's Decisions" he describes a piece he wrote with thickly layered romanticism about a desert tribe that exotici This book may have a few valuable suggestions throughout, but it is difficult to reap Zinsser's lessons through his sexism and eurocentrism. He uses his own work (Haircurl) in the "Humor" chapter for no good reason because he really doesn't do anything with it except to show that it is funny. Unfortunately, it is not funny, and it is actually quite offensively mocking women. In "A Writer's Decisions" he describes a piece he wrote with thickly layered romanticism about a desert tribe that exoticizes his subjects by using language like "ancient" "mystical" "natives". His use of language is definitely presenting his personae (something Zinsser encourages every writer to do), unfortunately his personae is a bourgeois anglophile. Though he is of German descent, "The Sound of Your Voice" is the clearest example of his disdain for "the other" as he praises English words and language used based on the King James Bible, Elizabethan period, and expresses disdain for verbs of Latin origin. Like I said, this book MAY have a few valuable suggestions, but there was nothing in it that I had not heard before and thus could probably find somewhere else where I would not have to endure Zinsser's sexist and eurocentric "humor".
Thomas – Aug 18, 2015
A straightforward guide to writing solid nonfiction. William Zinsser offers sound advice, including how to eliminate clutter and ways to target your audience. He spans several genres within nonfiction, ranging from sports writing to travel articles to memoir. He incorporates several example passages from his favorite writers and from his own work. On Writing Well provided tangible, quality writing tips. It did not excite me, though. Zinsser has a somewhat eurocentric perspective and his writing s A straightforward guide to writing solid nonfiction. William Zinsser offers sound advice, including how to eliminate clutter and ways to target your audience. He spans several genres within nonfiction, ranging from sports writing to travel articles to memoir. He incorporates several example passages from his favorite writers and from his own work. On Writing Well provided tangible, quality writing tips. It did not excite me, though. Zinsser has a somewhat eurocentric perspective and his writing selections often come from white men. His tone itself bored me as well - it did not irritate me, it just failed to provoke any emotion. Still, I give this book four stars based on its content, even if its voice did not stand out. Overall, recommended to those searching for a pragmatic, more technical book about writing nonfiction.
Katelyn Beaty – May 18, 2007
I always thought of the ability to write well as a gift more than a skill--kind of like hand-eye coordination, or rhythm. You either have it or you don't. It's not until I began working in the editorial world that I realized the writing which seems effortless is that which requires the most effort. Part of my training at this job required reading a quintessential work on nonfiction writing, William Zinsser's "On Writing Well" (30th Anniversary edition). I was warned that it's a slow burn--perhap I always thought of the ability to write well as a gift more than a skill--kind of like hand-eye coordination, or rhythm. You either have it or you don't. It's not until I began working in the editorial world that I realized the writing which seems effortless is that which requires the most effort. Part of my training at this job required reading a quintessential work on nonfiction writing, William Zinsser's "On Writing Well" (30th Anniversary edition). I was warned that it's a slow burn--perhaps the opposite of the other book I've read on the writing process, Anne Lamott's "Bird by Bird." Zinsser's isn't littered with quirky anecdotes about his son's parasailing adventures or Buddhist friends or dreadlocks (only said with fondness, Annie). What Zinsser's book offered instead was practical and precise guidance on how to make the English language sing in your nonfiction writing. Zinsser concentrates equally on the importance of technical mastery and original, honest ideas. On one hand, one must be able to convey information to his or her succinctly and clearly. This requires a breadth of knowledge on the ins-and-outs of English prose; grammar nerdiness doesn't hurt. (If you find yourself elated when you find someone else who uses the subjunctive tense, this book is for you.) Zinsser covers the variety of writing styles featured in most newspapers (i.e. sports writing vs. travel writing, common interest vs. international stories, etc.). But he also lays out suggestions on how to start the writing process as a writer-to-be. I especially enjoyed the section on how to make your personal story compelling as a memoir. I know everyone walks away from this book aspiring to become the next Tolstoy, but is this really such a silly aspiration?
Marc *Dark Reader of the Woods* – Nov 23, 2020
I don't understand. This book is just the letters W—E—L—L written over and over again, for three hundred pages. . . . . . . . . No? How about this then: It's not well known that the author was taken aback by several critical reviews of this book. He insisted that these were not factually accurate, particularly those written by female reviewers. He responded by publishing a sequel titled, "On Writing Actually". . . . . . One particular bit of writing advice resonates with me, in the chapter on reviewing the art I don't understand. This book is just the letters W—E—L—L written over and over again, for three hundred pages. . . . . . . . . No? How about this then: It's not well known that the author was taken aback by several critical reviews of this book. He insisted that these were not factually accurate, particularly those written by female reviewers. He responded by publishing a sequel titled, "On Writing Actually". . . . . . One particular bit of writing advice resonates with me, in the chapter on reviewing the arts: The temptation to make a name at the expense of some talentless ham is too strong for all but the most saintly.That is factcheck: true.
John – Jan 22, 2012
On Writing Well may primarily focus on non-fiction, but parts of it should be required reading for novelists, as well. Though, at first, Zinsser's advice may seem anal–retentive and persnickety, it is great for keeping your work focused and making your sentences sharper. The best part of On Writing Well focuses on"trimming the fat in the sentences you write. Zinsser provides a hand-edited page of his own On Writing Well manuscript as an example of how to cut down on useless words, and it is tru On Writing Well may primarily focus on non-fiction, but parts of it should be required reading for novelists, as well. Though, at first, Zinsser's advice may seem anal–retentive and persnickety, it is great for keeping your work focused and making your sentences sharper. The best part of On Writing Well focuses on"trimming the fat in the sentences you write. Zinsser provides a hand-edited page of his own On Writing Well manuscript as an example of how to cut down on useless words, and it is truly amazing to see how much even an expert writer like him can remove from his work without its losing any meaning or artistic merit. Not only should you eliminate useless words, but, according to Zinsser, you should also avoid using large words when smaller ones will suffice. I think this is especially good advice for fiction because, the easier a novel is to read, the more easily readers can lose themselves in it. I admit to being a fan of Lew Wallace's Ben-Hur (which Zinsser despises for its verbosity), but I can certainly see his main point, which can be summed up as, "Easy reading is damn hard writing"—to quote Hawthorne. Some writers (i.e. Faulkner, Joyce, etc.) can get away with breaking the rules because, as Zinsser states, they were geniuses. But, for the rest of us, getting the point across succinctly is the best way to satisfy our readers, should we be lucky enough to have any. Using active sentences as often as possible further helps make our writing more interesting, both in fiction and non-, and, of course, in fiction, you also need to provide readers with a "hook" in order to ensnare them in your narrative. Knowing the exact meanings of words causes readers to put faith in you, and it's important not to misuse or confuse them. Zinsser recommends keeping a dictionary handy at all times, which is an idea I am trying to take to heart. Zinsser's view of writing is that it is hard, arduous work—something the fiction writer should keep in mind because people tend to get the wrong impression that writing fiction amounts to little more than daydreaming at a desk all day. Nothing could be further from the truth: Great writers must be extremely meticulous and precise in their art, both in regard to story and the proper use of the English language. Reading Zinsser's book is pretty discouraging in that it focuses mostly on the aspects of writing that people find most boring, however important they may be. Serious writers will, however, find it indispensible.
Amir Tesla – Mar 12, 2019
A good book on writing non-fiction.
tappkalina – Dec 17, 2020
I would not recommend this to those who spend hours watching writing videos like moi. If you still want to read it, hope it'll be more helpful to you. I would not recommend this to those who spend hours watching writing videos like moi. If you still want to read it, hope it'll be more helpful to you.
Steven – Jan 25, 2008
One of the oldest ways to master a craft is through imitation and writing well is no different. Zinsser's book stands alongside Strunk & White's "Elements of Style" as one of the best guides on how to write clearly and effectively. The book's tone and style is much like a series of lectures from a professor who projects a sense of knowledge, warmth, and passion. Zinsser illustrates many of his points through the use of personal anecdotes and examples culled from writers of different disciplines. One of the oldest ways to master a craft is through imitation and writing well is no different. Zinsser's book stands alongside Strunk & White's "Elements of Style" as one of the best guides on how to write clearly and effectively. The book's tone and style is much like a series of lectures from a professor who projects a sense of knowledge, warmth, and passion. Zinsser illustrates many of his points through the use of personal anecdotes and examples culled from writers of different disciplines. They all point to two of writing's main sources of inspiration: people and places. Without these as a starting point, there is no entry point for the reader or for the writer. What separates and ultimately elevates Zinsser's book from Strunk & White is that Zinsser delves into the mentality of the writer, how she or he can approach writing and make the crucial decisions, and how to apply such principles as espoused by Strunk & White. I found that Zinsser's most important point was that good writing comes from a desire to write well, repeated effort, and judicious editing.
Joy D – May 06, 2020
On Writing Well provides advice on how to write non-fiction. It is logically organized into four sections: Principles, Methods, Forms, and Attitude. The first section covers the basics. It conveys tips on writing in a straight-forward uncluttered manner with emphasis on action verbs. The second focuses on organization, presentation, and structure. The third shows examples of different types of writing, such as travel, memoir, science, business, sports, arts, and humor. The last section explores On Writing Well provides advice on how to write non-fiction. It is logically organized into four sections: Principles, Methods, Forms, and Attitude. The first section covers the basics. It conveys tips on writing in a straight-forward uncluttered manner with emphasis on action verbs. The second focuses on organization, presentation, and structure. The third shows examples of different types of writing, such as travel, memoir, science, business, sports, arts, and humor. The last section explores finding your own voice. It covers intangibles such as setting high standards, gaining confidence, and taking risks. This book is geared toward writing in English, but the concepts can be applied to other languages. Zinsser's background, as a published author and former professor at Yale and Columbia, gives him credibility. The book is easy to read and understand. I particularly liked Zinsser's analysis of writing samples, with suggestions for improvement. I smiled often at his use of humor: "Leave 'myriad' and their ilk to the poets. Leave 'ilk' to anyone who will take it away." Originally published in 1976, I read the 30th anniversary edition, which has been updated but still feels dated – such as references to printouts and word processors. The author holds strong opinions and states them forcefully. He also tends to repeat himself. Nevertheless, I discovered sound tools and techniques to incorporate into my writing. Life-long learners will value the content.
Michael Galdamez – May 22, 2017
Writing a sufficiently well-written review for a well-written book about how to write well is a lot to write well. So I'll write it well later. Writing a sufficiently well-written review for a well-written book about how to write well is a lot to write well. So I'll write it well later.
Rosie Nguyễn – Mar 18, 2014
A must read for those whose works relate to writing: students, teachers, businessmen, reporters, and of course, writers. Very useful tips along with very witty style. And above all, a man with high passion, virtue and responsibility with his job.
Neil R. Coulter – Nov 09, 2019
Returning to On Writing Well some years after the last read-through is like reconnecting with an old friend. This was one of the first books I read when I really started to learn how to write (which, I might mention, happened after I'd completed a bachelor's degree, two master's degrees, and a PhD; thank you, American higher education). William Zinsser's clarity and winsomeness fueled my love of writing and editing, and looking at the book now, I'm almost startled to recognize how much of my edi Returning to On Writing Well some years after the last read-through is like reconnecting with an old friend. This was one of the first books I read when I really started to learn how to write (which, I might mention, happened after I'd completed a bachelor's degree, two master's degrees, and a PhD; thank you, American higher education). William Zinsser's clarity and winsomeness fueled my love of writing and editing, and looking at the book now, I'm almost startled to recognize how much of my editing personality came from Zinsser. I've worked with hundreds of clients on editing and proofreading, and I know that Zinsser's wise guidance has benefited all of them. What I still love about On Writing Well is the simple, direct, encouraging style Zinsser uses. He makes the writing process seem so natural and clear. He demystifies common ideas about the work and craft, making it seem like something I really can do. I also appreciate the range of his perspective. He finds something to love in all kinds of writing—memoir, humor, travel, sports, and others. That breadth pushes me to find the good in a wide array of genres, too. I wish Zinsser would have talked more about academic writing, but that wasn't his forte; and much of what he does say would improve writing in the humanities. Zinsser completed the final revision of On Writing Well in 2006, and nine years later he died. As much as I continue to love the book and Zinsser's influence, I'm also sad in this read-through to see that the book's other-era-ness is now hindering its potential to speak to writers today. There are some cringing moments when Zinsser writes about other cultures and subcultures, other places in the world, and women. And though Zinsser writes carefully about humor, his own sense of humor now feels dated and corny. (It's hard to imagine that his Haircurl satire was ever funny.) Some of his guidance is so outdated that it's now wrong—such as his advice about interviewing, in chapter 12. What I'd like is a writer's guide that is still much closer to On Writing Well than to A World Without "Whom," but that takes into account the speed of language change, the influence of internet communication, and pop culture references and a sense of humor that fit into today's world. Zinsser took a particular approach to writing—an approach that looks back especially to E. B. White, one of Zinsser's heroes—to its limit; now I want to read someone with that same wisdom but situated in this moment. I'll be reading On Writing Well with students next semester, and I'm very curious to see how they respond to it. I hope they'll be able to take advantage of all the good it offers, without being distracted by its shortcomings; and I hope Zinsser will be a friend to them in their writing journeys.
Miranda Cary – Jan 31, 2013
In my opinion this book, compared to Elements of Style, is like being transported to an entirely different world in itself. No longer is some taut professor (sorry, Mr. White and Mr. Strunk! I still love you.) slapping a ruler against the board, directing you what verbs to use and which tenses sound best, what constitutes as good language compared to language that is gaudy and overrated, only putting the ruler down by the last few minutes of class to speak calmly with you; if White and Strunk tr In my opinion this book, compared to Elements of Style, is like being transported to an entirely different world in itself. No longer is some taut professor (sorry, Mr. White and Mr. Strunk! I still love you.) slapping a ruler against the board, directing you what verbs to use and which tenses sound best, what constitutes as good language compared to language that is gaudy and overrated, only putting the ruler down by the last few minutes of class to speak calmly with you; if White and Strunk truly taught that way, then Zinsser's style is simple. Take away the ruler, throw out the board, pull up a chair and get to the point--staying true to yourself and your craft. Not that Strunk and White weren't already amazing teachers--Elements of Style is a brilliant guide. I just feel more relaxed with Zinsser, as if he's some kindly old professor who's taught the same lesson over and over again and refuses to do it in the same drab style. He doesn't just teach you the steps; Zinsser lets you explore further, allowing yourself to question what you're about to write and how to approach it, whatever the genre may be for your article. Not a word is out of place, and he keeps the definitions and directions fresh in our minds with examples from all sorts of sources. I may not write a lot of nonfiction in my life, but On Writing Well isn't just for people with a desire to write. It's for anyone who NEEDS to write, and that's practically every person in this whole country, let it be businessman or teacher or whatever other profession that someone can have. There are so many quotes from this book that I can rattle on about, but I'll leave you all with the most recent quote that popped into my mind: "But finally the purposes that writers serve must be their own. What you write is yours and nobody else's. Take your talent as far as you can and guard it with your life. Only you know how far that is; no editor knows. Writing well means believing in your writing and believing in yourself, taking risks, daring to be different, pushing yourself to excel. You will write only as you make yourself write."
♥ Ibrahim ♥ – Oct 01, 2013
Books on writing can be intimidating but this books is charming and makes me want to read more and more. This book is written "well" by a man who knows how to "Write Well." It is by no means a compliment to tell Zinser that anybody can write and we all can take up writing on the side. No. Writing is a craft rather than an art and we have to work at it. Our writing should be simple and clutter-free. Clear thinking becomes clear writing. Therefore, to write is always to rewrite over and over and o Books on writing can be intimidating but this books is charming and makes me want to read more and more. This book is written "well" by a man who knows how to "Write Well." It is by no means a compliment to tell Zinser that anybody can write and we all can take up writing on the side. No. Writing is a craft rather than an art and we have to work at it. Our writing should be simple and clutter-free. Clear thinking becomes clear writing. Therefore, to write is always to rewrite over and over and once again we rewrite what we have written. Writing should not be impacted by moods but it is a job and if your job is to write, you learn to do it like any other job. I liked the fact that Zinser would give examples of his own writing (see pages 9 and 10) and how he would show us how what written in the first eidition of On Writing Well had already been rewritten and retyped four or five times. He tries to make what he has written tighter, stronger and more precise. This is particularly helpful for me as Arabic is my native tongue and we tend to be flowery, redundant, repetitive, wordy, excessive in our imagery. But this won't work in English writing. He has taught me to constantly ask: What am I trying to say? Then I look at what I have written and ask: Have I said it? Is it clear to someone encountering the subject for the first time? I enjoyed what he had to say on style as it is organic to who we are. I should write as a person and people should feel that they are reading for a person, not a machine. I also enjoyed what he had to say on unity of tense and unity of mood and all the other ideas that he presents as one having mastered his craft. I plan to read every book of Zinser as a result of reading this book. This is a man worthy of my ultimate respect.
Mehrsa – Sep 07, 2018
Really great practical advice on writing--be clear, be truthful, and don't get cocky. I should re-read this one again and again Really great practical advice on writing--be clear, be truthful, and don't get cocky. I should re-read this one again and again
Daniel – Oct 21, 2011
Why Zinsser Still Matters Second only to The Elements of Style, this is the best book ever written for writers. In many ways, it's better than Strunk and White, which tends to focus on grammar and the actual mechanics of writing as opposed to how a writer should think and approach things. The book focuses on nonfiction, but many (if not most) of the principles apply equally to any style of writing. Even chapters on things like how to do an interview offer valuable insights into what you're lookin Why Zinsser Still Matters Second only to The Elements of Style, this is the best book ever written for writers. In many ways, it's better than Strunk and White, which tends to focus on grammar and the actual mechanics of writing as opposed to how a writer should think and approach things. The book focuses on nonfiction, but many (if not most) of the principles apply equally to any style of writing. Even chapters on things like how to do an interview offer valuable insights into what you're looking for when creating good characters or how to recognize and shape a character's voice. The real victory of this book though comes in rescuing writing from the pomposity of the writing world. It approaches writing from it's long abhorred but more important angle of craftsmanship. Writing is not just an art. Sure, there is art involved, but it's also a craft, a skill that can be learned and honed and developed. Writers who think of what they do as a form of magic would do well to read this book. This error in understanding is even more pervasive in the category of aspiring writers than it is in publishing. I recall hearing Neil Gaiman talk about how writers will write something, send it out, and wait for a response. If the responses come back negatively, then the writer decides that she is simply too far ahead of her time, or that the publishers simply don't understand what she was doing. "They don't get it," is the common writer's reply. Gaiman contended that the more likely truth is that what you've written simply isn't any good. Maybe it could be good if you fixed it, but it isn't now. Craft is the bridge that allows you to fix it. It can't really be fixed with art. This is a book about the craft of writing and every writer would do well to read it periodically. I try to read it every couple of years just to refresh myself. I never fail to find new insights or discover new ways to approach the problems of writing. It seems to me that writers who don't read and study this book along with a few others (The Elements of Style, On Writing, among others) are really just playing at being a writer. They are, as Alan Alda would say, "stuffing the dog".
Mark Jr. – Aug 14, 2017
Aside from his advice about usage—which made me deeply grateful for the more rigorously empirical and linguistically accurate advice of Steven Pinker's *Style*—this book was a delight. The advice was sage, drawing as it did from a multi-decade depth and breadth of experience both in writing and in teaching writing. The excerpts singled out for praise and analysis were excellent, paragons of prose. I will return to this book. It confirmed some of my most deeply held views about writing (especiall Aside from his advice about usage—which made me deeply grateful for the more rigorously empirical and linguistically accurate advice of Steven Pinker's *Style*—this book was a delight. The advice was sage, drawing as it did from a multi-decade depth and breadth of experience both in writing and in teaching writing. The excerpts singled out for praise and analysis were excellent, paragons of prose. I will return to this book. It confirmed some of my most deeply held views about writing (especially that it should be "truth through personality") and challenged me to rethink others (especially my strategy for personal illustrations). Every writer at Faithlife should read this book (and Pinker's). A tiny bit of the advice (and most of Zinsser's own excerpts, but not his expository prose) was dated. But this deserves to be called a classic.
Cathy DuPont – Feb 11, 2014
With Steve's review, I was reminded that I had read this years ago and it's in my "book closet" where I have all my writing reference books. When did I read it? Well, I would have to think back and I can figure it out but it will take a while and I would rather be reading than go down that particular "memory lane." Five stars indicates what I thought of this book and glad to know that it's contents are still valid today. With Steve's review, I was reminded that I had read this years ago and it's in my "book closet" where I have all my writing reference books. When did I read it? Well, I would have to think back and I can figure it out but it will take a while and I would rather be reading than go down that particular "memory lane." Five stars indicates what I thought of this book and glad to know that it's contents are still valid today.
Dave I – Nov 16, 2018
Classic seminal work on editing, phrasing and delivering a message.
Michael Spotts – Jun 27, 2012
Turning the last page of On Writing Well, by William Zinsser, I compulsively kissed the cover—an act of grateful reverence bestowed on few books in the Spotts library, effectively Knighthood in the realm of my reading. This distinction was earned by Zinsser's incomparable usefulness to the Writer that Would Be. Many "accomplished authors" have assumed the task of sharpening our nibs, and showed themselves little more than grammarians, or seized the chance to flaunt their cloying style and terrib Turning the last page of On Writing Well, by William Zinsser, I compulsively kissed the cover—an act of grateful reverence bestowed on few books in the Spotts library, effectively Knighthood in the realm of my reading. This distinction was earned by Zinsser's incomparable usefulness to the Writer that Would Be. Many "accomplished authors" have assumed the task of sharpening our nibs, and showed themselves little more than grammarians, or seized the chance to flaunt their cloying style and terribly terrific wit—without saying anything about the actual process of writing. But On Writing Well gives only the most functional tips. Where others drag out a trunk of fancy silverware to vainly oodle, Zinnser knows you are lost in a jungle with limited time, and hands you a few stout blades to cut through the thicket. His tools are based on a simple survival tactic: cut excess weight and get into the clear fast. It's the difference between dead prose and living text. This is not to say his book is light on material. Spartan, yes, but not frail. In 300 pages he covers such dilemmas as: How to create a sense of persona—What sort of words and phrases to avoid—Where to get fresh ideas—How to maintain interest. But be prepared to work, because Zinsser's key idea is, "You will write only as well as you make yourself write." (p. 293) Just how much work goes into good writing? The Teacher himself admits in one place, "Altogether, the sentence took almost an hour." He is quick to add, however, "I didn't begrudge a minute of it. On the contrary, seeing it fall into place gave me great pleasure. No writing decision is too small to be worth a large expenditure of time. Both you and the reader know it when your finicky labor is rewarded by a sentence coming out right." (p. 271) All this effort tempts writers to indulge themselves with keeping every hard-won sentence in the final draft. But good writing is as much about what you reserve as what you say. "At such moments I ask myself one very helpful question: "What is the piece really about?" (Not just "What is the piece about?") Fondness for material you've gone to a lot of trouble to gather isn't a good enough reason to include it if it's not central to the story you've chosen to tell. Self-discipline bordering on masochism is required. The only consolation for the loss of so much material is that it isn't totally lost; it remains in your writing as an intangible that the reader can sense. Readers should always feel that you know more about your subject than you've put into writing." (p. 273-274) The right amount of content still means little if your ideas are jumbled. An undirected crowd quickly dissolves into an unruly mob, and text that is not strictly governed by logic will run mad, disorienting your reader: "Learning how to organize a long article is just as important as learning how to write a clear and pleasing sentence. All your clear and pleasing sentences will fall apart if you don't keep remembering that writing is linear and sequential, that logic is the glue that holds it together, that tension must be maintained from one sentence to the next and from one paragraph to the next and from one section to the next, and that narrative—good old-fashioned storytelling—is what should pull your readers along without them noticing the tug. The only thing they should notice is that you have made a sensible plan for your journey. Every step should seem inevitable." (p. 265-266) On Writing Well is as biographical as it is grammatical. Zinnser illustrates his points with detours into his history as a newspaper writer for the Herald Tribune, and with anecdotes from his worldwide travels. These sidelines serve an important purpose, which is to embed the fact that nonfiction thrives on interesting details and stories which are most often found outside of the writer's carrel. Narrative asides and unlikely points of trivia lend human feeling to your prose, but also require a lot of legwork. "As a nonfiction writer you must get on the plane. If the subject interests you, go after it, even if it's in the next county or the next state or the next country. It's not going to come looking for you. Decide what you want to do. Then decide to do it. Then do it." (p. 285) "Given a choice between two traveling companions — and a writer is someone who asks us to travel with him — we usually choose the one who we think will make an effort to brighten the trip." (p. 288) As stated above, for all but the most sainted writers, developing your craft will inevitably involve sweat, swearing, and late nights glaring at a rebellious blank page. The sentence you want is often huddling in the corner behind a half-wrought, mangy animal that hisses until you get up the courage to make it submit. Don't be intimated. Keep at it, and you'll eventually dominate the phrase so that it becomes man's best friend. "The final advantage is the same one that applies in every other competitive venture. If you would like to write better than everybody else, you have to want to write better than everybody else. You must take an obsessive pride in the smallest details of your craft. And you must be willing to defend what you've written against the various middlemen – editors, agents and publishers — who sights may be different from yours, whose standards not as high. Too many writers are browbeaten into settling for less than their best." (p. 289) Eventually you will master the mechanics of strong English. You'll breath the four cardinal maxims—Brevity, Clarity, Simplicity, Humanity—as your native air. From there, you will begin speaking with a new tongue, one unique to you, composed of your tastes and experience—your style. Once you gain your voice, whatever you do, fight for it. Editors and self-made critics will suggest you scrub your text of those flavorful nuances that make it your own. But, says Zinsser, "if you allow your distinctiveness to be edited out, you will lose one of your main virtues. You will also lose your virtue." (p. 292) Final Verdict: If you want to improve your prose, leave all and sit for a while at the feet of Zinsser.
Whitney – Aug 18, 2020
~3.5~ I am pretty impressed with myself that I finished this book in a week...But it was interesting and VERY helpful for writing future papers and even in my writing outside of school. I did find myself skipping over some paragraphs sometimes and just scanning (that is why I rated it lower). But overall, it was a good read. I think that I would've enjoyed it more if I didn't have to read it for school...but aren't we all like that? ~3.5~ I am pretty impressed with myself that I finished this book in a week...But it was interesting and VERY helpful for writing future papers and even in my writing outside of school. I did find myself skipping over some paragraphs sometimes and just scanning (that is why I rated it lower). But overall, it was a good read. I think that I would've enjoyed it more if I didn't have to read it for school...but aren't we all like that?
Leo Walsh – May 31, 2018
What can I say about Zinsser that hasn't already been said? I read my first version of this book in the eighties as a side-text for a university comp class. And this is the third edition I've read. The core material stays the same, but this edition includes writing clear, concise prose for electronic media and meetings in addition to the paper-writing skills I focused on at 18. Five stars. A classic. Plus. What can I say about Zinsser that hasn't already been said? I read my first version of this book in the eighties as a side-text for a university comp class. And this is the third edition I've read. The core material stays the same, but this edition includes writing clear, concise prose for electronic media and meetings in addition to the paper-writing skills I focused on at 18. Five stars. A classic. Plus.
Mark Seemann – Oct 18, 2019
Write for you because otherwise what you write becomes impersonal. Write for the reader because otherwise what you write becomes parochial. I'm already a writer, so I didn't buy this book to learn how to write. I bought it to become a better writer. Maybe it will make me a better writer. I admit that I'm inspired to write about topics that I previously have not touched. How can I fault a book that inspires me? On the other hand, I had expected more concrete advice on how to structure my writing; ho Write for you because otherwise what you write becomes impersonal. Write for the reader because otherwise what you write becomes parochial. I'm already a writer, so I didn't buy this book to learn how to write. I bought it to become a better writer. Maybe it will make me a better writer. I admit that I'm inspired to write about topics that I previously have not touched. How can I fault a book that inspires me? On the other hand, I had expected more concrete advice on how to structure my writing; how to make my point with clarity; how to advance an argument or lead the reader to a particular insight. There's not much of that here, but again I can't blame a book for not achieving a goal it never professes to have. Distilled to essence, writing well is to write deliberately. Write, rewrite, prune, and rearrange; never lose sight of the reader. Use active verbs and nouns. Prefer short, precise, native words over pompous Latin or Greek words. The book seems to be a collection of essays on non-fiction writing. They're easy to read, and contain much reasonable advice, but I don't feel that I learned much that I didn't already know.
Viviana D. Otero – Jan 31, 2011
I first read On Writing Well years ago when I was assigned to co-teach a writing course for Duke University's Talent Identification Program (TIP) the summer of 2000. I thought then, I was prepared to teach a bunch of highly intelligent teens about the elements in writing great nonfiction. It turned out, however, that I learned much more about the writing process thanks to Zinsser. The head instructor for the course had read the book and informed me that our classes would be doing so as well. On I first read On Writing Well years ago when I was assigned to co-teach a writing course for Duke University's Talent Identification Program (TIP) the summer of 2000. I thought then, I was prepared to teach a bunch of highly intelligent teens about the elements in writing great nonfiction. It turned out, however, that I learned much more about the writing process thanks to Zinsser. The head instructor for the course had read the book and informed me that our classes would be doing so as well. Once I completed the book, I was amazed at just how little I knew about what was considered excellent writing. It was the best book I ever read in my lifetime, and I made sure I purchased the new edition once it was published. Now that I have started writing my very own memoir, it has once again come in handy. Insert On Writing Well is a perfect tool for the serious student and for the writer who just needs that little encouragement to keep typing. The renowned author's handbook gives us many pointers on various forms of writing. As Zinsser clearly and magnificently tells us, "Good writing has an aliveness that keeps the reader reading from one paragraph to the next, ant it's not a question of gimmicks to "personalize" the author. It's a question of using the English language in a way that will achieve the greatest clarity and strength."(5) Zinsser surely practices what he preaches! I just wish Claire Messud read this book thoroughly before she wrote her novel The Emperor's Children. On Writing Well is a must read for all who love to write! Zinsser, William. On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction. New York: Harper Collins Publishers, 2006.
Taka – Mar 31, 2010
Read the first two parts-- Witty, concise, and informative, the first two parts on "Principles" and "Methods" are brilliant. These parts, however, constitute 30% of the book. The rest of the book - that is, 70% - is uneven and can be skipped without missing out on anything important. The only chapters I found worth reading are those on "Science and Technology," "Business Writing," and "Writing About Arts," all of which are in Part III. Other than these, none of the chapters say anything that hasn' Read the first two parts-- Witty, concise, and informative, the first two parts on "Principles" and "Methods" are brilliant. These parts, however, constitute 30% of the book. The rest of the book - that is, 70% - is uneven and can be skipped without missing out on anything important. The only chapters I found worth reading are those on "Science and Technology," "Business Writing," and "Writing About Arts," all of which are in Part III. Other than these, none of the chapters say anything that hasn't been said already and can be skimmed or skipped, according to your interest in the particular subject of each chapter. One nugget of advice I found extremely helpful and would like to share is this: "Forget the competition and go at your own pace. your only contest is with yourself." I couldn't have said better. Writers are egomaniacs who care too much about what other people think of their writing. My advice: read the first two parts and only read what interests you after that.
Stefan Kanev – Apr 15, 2014
It is amazing. It is a well-written book on writing. I can't stress how enjoyable William Zissner is. He style is amazing, his writing is pleasant and he has a lot of good advice to give. The book left me with two thoughts: I really want to write like him and I *must* read everything else he's written. Unsurprisingly, the main take-away is that the essence of writing is rewriting. Apart from that, there are a lot of good advice on style. Half of the book is chapters for specific types of writing – It is amazing. It is a well-written book on writing. I can't stress how enjoyable William Zissner is. He style is amazing, his writing is pleasant and he has a lot of good advice to give. The book left me with two thoughts: I really want to write like him and I *must* read everything else he's written. Unsurprisingly, the main take-away is that the essence of writing is rewriting. Apart from that, there are a lot of good advice on style. Half of the book is chapters for specific types of writing – traveling, sports, arts. Even if you never intend to write about those things, they are worth reading because they contain a lot of great thinking about how to approach various subjects. I will be rereading this book for a while.
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Green lanterns in solidarity with migrants, Italy on - Wednesday 19th January 2022 11:53 PM
The video that inguaia Grillo: the battle of the M5s over the Italian seafarers to "help" Onorato - Wednesday 19th January 2022 11:53 PM
Abel Ferrara in Caracalla reads verses from "Ruins" by Gabriele Tinti. And in Puglia he shot a film about Padre Pio - Wednesday 19th January 2022 11:49 PM
"Why wasn't he expelled?" The storm breaks out on the illegal rapist - Wednesday 19th January 2022 11:49 PM
Schools, in Milan a rain of works with the 76 million euros of the PNRR – Chronicle - Wednesday 19th January 2022 11:45 PM
he had lowered himself from a window with the sheet - Wednesday 19th January 2022 11:41 PM
Covid and school, quarantine for vaccinated children. Parents protest, Sileri defends the rule - Wednesday 19th January 2022 11:40 PM
Martina Campanile, the 14-year-old from Osimo who couldn't get vaccinated, died – Corriere.it
Breaking News Carla World Thursday 09th December 2021 02:52 AM REPORT
from Nicola Catenaro
Immunosuppressed, for a month she had been hospitalized in Ancona, where she had been taken with a fever of 41
He struggled with all his might for over a month in a hospital bed but didn't make it. Yesterday, around noon, the heart of Martina Campanile, the 14-year-old from Osimo who fell ill with Covid and that he had not been able to receive the vaccine p
erch immunosoppressa, has ceased to beat.
We have done everything to try to save her – he says Alessandro Simonini, head of the pediatric anesthesia and resuscitation department of Salesi in Ancona, the hospital where the girl had been since last November 5th – but already at the time of admission Martina was in critical condition and her lungs quickly damaged. also to protect people like you who need to get vaccinated.
Martina suffered from a rare genetic disease, who nevertheless did not put his life at risk. In the past she had a kidney transplant and was taking drugs that reduced her immune response to avoid rejection. He could not have been vaccinated without facing potentially serious consequences.
The girl had a fever of 41 when she was rushed to the hospital and, to try to save her, she had been intubated with mechanical ventilation and subjected to several courses of pronation-supination. At home, his little brother also tested positive for Covid.
My beloved daughter, fight and don't give up, show who you are, show that you were born a warrior, and amaze everyone., her mother Rita had written on her Facebook profile, immediately after Martina's hospitalization: I hope – he added in a heartfelt appeal – that ignorant people understand that Covid exists, that a monster that can destroy you and above all who vaccinated must understand that we must not let our guard down. You have to respect the rules anyway.
December 9, 2021 (change December 9, 2021 | 08:08)
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Green lanterns in solidarity with migrants, Italy on
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Abel Ferrara in Caracalla reads verses from "Ruins" by Gabriele Tinti. And in Puglia he shot a film about Padre Pio
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Former Speaker crosses over to SLFP
[TamilNet, Saturday, 20 February 2010, 21:29 GMT]
Former Speaker of the Sri Lankan Parliament and UNP parliamentarian W.J.M.Lokubandara on Saturday crossed over to Sri Lanka Freedom Party at a function chaired by Sri Lankan President Mahinda Rajapaksa in Bandarawela.
Earlier Mr. Rajapaksa appointed Mr. Lokubandara's son Uditha Lokubandara as the Haputale SLFP organizer.
In the forthcoming elections, Mr. Lokubandara is tipped to be appointed to the parliament through the SLFP national list.
http://www.tamilnet.com/art.html?catid=13&artid=31233


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Q&A: What would the effects be if someone thought they were drinking an energy drink?
Home » Q&A: What would the effects be if someone thought they were drinking an energy drink?
Question by Mikayla Shea: What would the effects be if someone thought they were drinking an energy drink?
It's for my science project. They think they're drinking a monster, would they show the same effects as they would if it were a real energy drink?
Best answer:
Answer by Horton
They might. It's called the "placebo effect." That's when people feel actually feel the effect they think they're supposed to feel. If you give it to them and tell them what they should feel, sometimes their belief takes over and they really do feel it. It's just a trick of the mind, and some people don't feel it.
A placebo (pluh-SEE-boe) is a fake drug. Often just a sugar tablet that looks like medicine. When given to a patient with a headache, for example, sometimes the headache goes away just because they believe that they've been given a drug.
It may work for some of your monster drink subjects, but not for others.
Add your own answer in the comments!
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