Six-Figure Freelancing shows writers how to make the most of the ballooning freelance industry by adopting a business-like approach to their craft, while offering insightful, first-hand advice to help maximize time and profit.• Includes worksheets and templates to assess and establish the best possible business strategy• Advice on time management and repurposing material for multiple markets, as well as how to gain a competitive edge in a growing market

    It provides students with skills that will enable them to make productive use of computational techniques, including some of the tools and techniques of "data science" for using computation to model and interpret data. The book is based on an MIT course (which became the most popular course offered through MIT's OpenCourseWare) and was developed for use not only in a conventional classroom but in in a massive open online course (or MOOC) offered by the pioneering MIT--Harvard collaboration edX.Students are introduced to Python and the basics of programming in the context of such computational concepts and techniques as exhaustive enumeration, bisection search, and efficient approximation algorithms. The book does not require knowledge of mathematics beyond high school algebra, but does assume that readers are comfortable with rigorous thinking and not intimidated by mathematical concepts. Although it covers such traditional topics as computational complexity and simple algorithms, the book focuses on a wide range of topics not found in most introductory texts, including information visualization, simulations to model randomness, computational techniques to understand data, and statistical techniques that inform (and misinform) as well as two related but relatively advanced topics: optimization problems and dynamic programming.Introduction to Computation and Programming Using Python can serve as a stepping-stone to more advanced computer science courses, or as a basic grounding in computational problem solving for students in other disciplines.

    Merriam synthesizes twenty years of developments in qualitative research with clarity and acumen." ?Michael Quinn Patton, author, Qualitative Research and Evaluation Methods"Here is a qualitative research methods book that reinforces the connection between professional experience and qualitative inquiry." ?Robert Stake, author, The Art of Case Study Research and Multiple Case Study Analysis"In this new edition, Sharan Merriam once again presents the world of qualitative research in language engaging and accessible?for new and experienced readers alike. If you can have only one book about qualitative research, this is it!" ?Patricia M. Reeves, associate professor, School of Social Work, University of Georgia"Mystified by qualitative research? You couldn't ask for a better guide than Sharan Merriam, who introduces you to the fundamental concepts of this research method, explains its complex forms, and then shows you exactly how to do a high-quality qualitative study." ?M. Carolyn Clark, coeditor, The International Journal of Qualitative Studies in Education

    The reality of being poor brings out a survival mentality, and turns attention away from opportunities taken for granted by everyone else. If you work with people from poverty, some understanding of how different their world is from yours will be invaluable. Whether you're an educator--or a social, health, or legal services professional--this breakthrough book gives you practical, real-world support and guidance to improve your effectiveness in working with people from all socioeconomic backgrounds. Since 1995 A Framework for Understanding Poverty has guided hundreds of thousands of educators and other professionals through the pitfalls and barriers faced by all classes, especially the poor. Carefully researched and packed with charts, tables, and questionnaires, Framework not only documents the facts of poverty, it provides practical yet compassionate strategies for addressing its impact on people's lives.

    This text is user-focused and has been highly updated including topics, pictures and examples. The Williams text contains less theory and more application to engage students who might be more familiar with technology. Continually published and updated for over 15 years, Using Information Technology was the first text to foresee and define the impact of digital convergence--the fusion of computers and communications. It was also the first text to acknowledge the new priorities imposed by the Internet and World Wide Web and bring discussion of them from late in the course to the beginning. Today, it is directed toward the "Always On" generation that is at ease with digital technology--comfortable with iPhones, MySpace, Facebook, Twitter, Wikipedia, and the blogosphere--but not always savvy about its processes, possibilities, and liabilities. This 8th edition continues to address the two most significant challenges that instructors face in teaching this course: -Trying to make the course interesting and challenging, and -Trying to teach to students with a variety of computer backgrounds. In addition, this text correlates with Simnet Online for full integration of resources within the Computing Concepts course.

    Whether you email just a little or never stop, here, at last, is an authoritative and delightful audiobook that shows how to write the perfect email anywhere. Send also points out the numerous (but not always obvious) times when email can be the worst option and might land you in hot water (or even jail!). The secret is, of course, to think before you click. Send is nothing short of a survival guide for the digital age–wise, brimming with good humor, and filled with helpful lessons from the authors’ own email experiences (and mistakes). In short: absolutely e-ssential.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    Combining psychological support with a project management approach that breaks tasks into small, manageable chunks, experienced dissertation coach Alison Miller shows you how to overcome negativity and succeed in completing your dissertation beyond your own expectations.

    Now the celebrated producer, lecturer, teacher, and bestselling author has updated his classic guide for a new generation of filmmakers, offering a fresh insider’s perspective on the film industry today. From concept to character, from opening scene to finished script, here are easily understood guidelines to help aspiring screenwriters—from novices to practiced writers—hone their craft. Filled with updated material—including all-new personal anecdotes and insights, guidelines on marketing and collaboration, plus analyses of recent films, from American Beauty to Lord of the Rings—Screenplay presents a step-by-step, comprehensive technique for writing the screenplay that will succeed in Hollywood. Discover:•Why the first ten pages of your script are crucially important•How to visually “grab” the reader from page one, word one •Why structure and character are the essential foundation of your screenplay•How to adapt a novel, a play, or an article into a screenplay•Tips on protecting your work—three legal ways to claim ownership of your screenplay•The essentials of writing great dialogue, creating character, building a story line, overcoming writer’s block, getting an agent, and much more.With this newly updated edition of his bestselling classic, Syd Field proves yet again why he is revered as the master of the screenplay—and why his celebrated guide has become the industry’s gold standard for successful screenwriting.

    For each question, there is a concise explanation of how to apply it in the evaluation of research reports.Numerous examples from journals in the social and behavioral sciences illustrate the application of the evaluation questions. Students see actual examples of strong and weak features of published reports.Commonsense models for evaluation combined with a lack of jargon make it possible for students to start evaluating research articles the first week of class.The structure of this book enables students to work with confidence while evaluating articles for homework.Avoids oversimplification in the evaluation process by describing the nuances that may make an article publishable even though it has serious methodological flaws. Students learn when and why certain types of flaws may be tolerated. They learn why evaluation should not be performed mechanically.This book received very high student evaluations when field-tested with students just beginning their study of research methods.Contains more than 60 new examples from recently published research. In addition, minor changes have been made throughout for consistency with the latest edition of the Publication Manual of the American Psychological Association."

    Covering all areas of language which students at this level find difficult, this substantially revised and updated book retains the clarity, simplicity and accessibility of the first edition, adding to it new and redesigned units and appendices, modified right-hand page exercises and additional exercises. - Easy to use: 136 two-page units combine clear, accurate language presentation on left-hand pages with thorough, varied practice on facing pages. - New additional exercises offer further practice of grammar points from different groups of units. - Designed for self-study: learners choose and study problematic areas with the help of a new study guide. - Key section contains answers to all exercises and the study guide. - Appendices deal with irregular verbs, tense formation, modals, spelling, short forms and American English.

    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

    By following these suggestions, which are organized around four strands - meaning-focused input, meaning-focused output, language-focused learning, and fluency development - teachers will be able to design and present a balanced program for their students.Teaching ESL/EFL Reading and Writing, and its companion text, Teaching ESL/EFL Listening and Speaking, are similar in format and the kinds of topics covered, but do not need to be used together. Drawing on research and theory in applied linguistics, their focus is strongly hands-on, featuringeasily applied principles,a large number of useful teaching techniques, andguidelines for testing and monitoring,All Certificate, Diploma, Masters and Doctoral courses for teachers of English as a second or foreign language include a teaching methods component. The texts are designed for and have been field tested in such programs.

    Wired for Story reveals these cognitive secrets--and it's a game-changer for anyone who has ever set pen to paper. The vast majority of writing advice focuses on writing well as if it were the same as telling a great story. This is exactly where many aspiring writers fail--they strive for beautiful metaphors, authentic dialogue, and interesting characters, losing sight of the one thing that every engaging story must do: ignite the brain's hardwired desire to learn what happens next. When writers tap into the evolutionary purpose of story and electrify our curiosity, it triggers a delicious dopamine rush that tells us to pay attention. Without it, even the most perfect prose won't hold anyone's interest. Backed by recent breakthroughs in neuroscience as well as examples from novels, screenplays, and short stories, Wired for Story offers a revolutionary look at story as the brain experiences it. Each chapter zeroes in on an aspect of the brain, its corresponding revelation about story, and the way to apply it to your storytelling right now.

    This book surveys the most important computer algorithms currently in use and provides a full treatment of data structures and algorithms for sorting, searching, graph processing, and string processing -- including fifty algorithms every programmer should know. In this edition, new Java implementations are written in an accessible modular programming style, where all of the code is exposed to the reader and ready to use.The algorithms in this book represent a body of knowledge developed over the last 50 years that has become indispensable, not just for professional programmers and computer science students but for any student with interests in science, mathematics, and engineering, not to mention students who use computation in the liberal arts.The companion web site, algs4.cs.princeton.edu contains An online synopsis Full Java implementations Test data Exercises and answers Dynamic visualizations Lecture slides Programming assignments with checklists Links to related material The MOOC related to this book is accessible via the "Online Course" link at algs4.cs.princeton.edu. The course offers more than 100 video lecture segments that are integrated with the text, extensive online assessments, and the large-scale discussion forums that have proven so valuable. Offered each fall and spring, this course regularly attracts tens of thousands of registrants.Robert Sedgewick and Kevin Wayne are developing a modern approach to disseminating knowledge that fully embraces technology, enabling people all around the world to discover new ways of learning and teaching. By integrating their textbook, online content, and MOOC, all at the state of the art, they have built a unique resource that greatly expands the breadth and depth of the educational experience.