The findings will surprise many readers and, quite frankly, upset others.The ChallengeBuilt to Last, the defining management study of the nineties, showed how great companies triumph over time and how long-term sustained performance can be engineered into the DNA of an enterprise from the very beginning. But what about the company that is not born with great DNA? How can good companies, mediocre companies, even bad companies achieve enduring greatness? The StudyFor years, this question preyed on the mind of Jim Collins. Are there companies that defy gravity and convert long-term mediocrity or worse into long-term superiority? And if so, what are the universal distinguishing characteristics that cause a company to go from good to great?The StandardsUsing tough benchmarks, Collins and his research team identified a set of elite companies that made the leap to great results and sustained those results for at least fifteen years. How great? After the leap, the good-to-great companies generated cumulative stock returns that beat the general stock market by an average of seven times in fifteen years, better than twice the results delivered by a composite index of the world's greatest companies, including Coca-Cola, Intel, General Electric, and Merck. The ComparisonsThe research team contrasted the good-to-great companies with a carefully selected set of comparison companies that failed to make the leap from good to great. What was different? Why did one set of companies become truly great performers while the other set remained only good? The FindingsThe findings of the Good to Great study will surprise many readers and shed light on virtually every area of management strategy and practice. The findings include:Level 5 Leaders: The research team was shocked to discover the type of leadership required to achieve greatness.The Hedgehog Concept (Simplicity within the Three Circles): To go from good to great requires transcending the curse of competence.A Culture of Discipline: When you combine a culture of discipline with an ethic of entrepreneurship, you get the magical alchemy of great results. Technology Accelerators: Good-to-great companies think differently about the role of technology.The Flywheel and the Doom Loop: Those who launch radical change programs and wrenching restructurings will almost certainly fail to make the leap.

    Award-winning author James Scott Bell offers clear, concise information that will help you create a believable and memorable plot, including: Techniques for crafting strong beginnings, middles, and endsEasy-to-understand plotting diagrams and chartsBrainstorming techniques for original plot ideasThought-provoking exercises at the end of each chapterStory structure models and methods for all genresTips and tools for correcting common plot problemsFilled with plot examples from popular novels, comprehensive checklists, and practical hands-on guidance, "Write Great Fiction: Plot & Structure" gives you the skills you need to approach plot and structure like an experienced pro.

    Enthusiastically praised by parents and professionals around the world, the down--to--earth, respectful approach of Faber and Mazlish makes relationships with children of all ages less stressful and more rewarding.Recently revised and updated with fresh insights and suggestions, How to Talk so Kids Will Listen & Listen so Kids Will Talk is full of practical, innovative ways to solve common problems and build foundations for lasting relationships.

    Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.

    A storehouse of practical writing tips, written in a lively, conversational style.

    An experienced therapist offers groundbreaking and compassionate techniques for helping chronically inflexible children, who suffer from excessively immoderate tempers, showing how brain-based deficits contribute to these problems and offering positive and constructive ways to calm things down.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Listen and speak more effectively, engage people through empathy (the most powerful word in the English language), avoid the most common conversational disasters, and use proven strategies that allow you to successfully communicate your point of view and take the upper hand in most disputes.

    Greatness doesn't come from DNA but from practice and perseverance honed over decades. The key is how you practice, how you analyze the results of your progress and learn from your mistakes, that enables you to achieve greatness.Colvin shows that the skills of business: negotiating deals, evaluating financial statements obey the principles that lead to greatness, so that anyone can get better at them with the right kind of effort. Even the hardest decisions and interactions can be systematically improved.This new mind-set, combined with Colvin's practical advice, will change the way you think about your job and career, and will inspire you to achieve more in all you do.

    Levitin shifts his keen insights from your brain on music to your brain in a sea of details.The information age is drowning us with an unprecedented deluge of data. At the same time, we’re expected to make more—and faster—decisions about our lives than ever before. No wonder, then, that the average American reports frequently losing car keys or reading glasses, missing appointments, and feeling worn out by the effort required just to keep up.But somehow some people become quite accomplished at managing information flow. In The Organized Mind, Daniel J. Levitin, PhD, uses the latest brain science to demonstrate how those people excel—and how readers can use their methods to regain a sense of mastery over the way they organize their homes, workplaces, and time.With lively, entertaining chapters on everything from the kitchen junk drawer to health care to executive office workflow, Levitin reveals how new research into the cognitive neuroscience of attention and memory can be applied to the challenges of our daily lives. This Is Your Brain on Music showed how to better play and appreciate music through an understanding of how the brain works. The Organized Mind shows how to navigate the churning flood of information in the twenty-first century with the same neuroscientific perspective.

    The average young person in the UK will spend 10,000 hours gaming by the age of twenty-one. What's causing this mass exodus? According to world-renowned game designer Jane McGonigal the answer is simple: videogames are fulfilling genuine human needs. Drawing on positive psychology, cognitive science and sociology, Reality is Broken shows how game designers have hit on core truths about what makes us happy, and utilized these discoveries to astonishing effect in virtual environments. But why, McGonigal asks, should we use the power of games for escapist entertainment alone? In this groundbreaking exploration of the power and future of gaming, she reveals how gamers have become expert problem solvers and collaborators, and shows how we can use the lessons of game design to socially positive ends, be it in our own lives, our communities or our businesses. Written for gamers and non-gamers alike, Reality is Broken sends a clear and provocative message: the future will belong to those who can understand, design and play games.

    Now in book form for the first time, their simple method will teach you how to use basic design tools to create a life that will work for you.Using real-life stories and proven techniques like reframing, prototyping and mind-mapping, you will learn how to build your way forwards, step-by-positive-step, to a life that’s better by a design of your own making.Because a well-designed life means a life well-lived.

     Is your phone the first thing you reach for in the morning and the last thing you touch before bed? Do you frequently pick it up "just to check," only to look up forty-five minutes later wondering where the time has gone? Do you say you want to spend less time on your phone--but have no idea how to do so without giving it up completely? If so, this book is your solution.Award-winning journalist Catherine Price presents a practical, hands-on plan to break up--and then make up--with your phone. The goal? A long-term relationship that actually feels good. You'll discover how phones and apps are designed to be addictive, and learn how the time we spend on them damages our abilities to focus, think deeply, and form new memories. You'll then make customized changes to your settings, apps, environment, and mindset that will ultimately enable you to take back control of your life.

    This book is significant because it is not only thoughtfully developed and based on careful reading of the extensive literature on leadership and governance, but it is also deliberately intended to enable the author to bridge the gap between theories of organization, on one hand, and practical application, on the other. --Journal of Higher Education