He explores a wide range of linguistic themes including sociolinguistics, language acquisition and register, and shows how our language can be interpreted.

    We are in an era where entire businesses are built on Instagram; kids in their bedrooms are racking up tens of millions of YouTube views; bloggers are becoming millionaires from their kitchen tables, and businesses are getting more attention from a viral video than a Super Bowl ad. But in a space that moves so fast, how can businesses keep up - let alone compete? And how do you make sure that your activity is profitable? Whether it’s building a targeted fanbase, selling more of your products & services or serving customers, every piece of your social media marketing campaign should be making you money. Combining the ‘holy grail’ marketing principles from some of history’s most successful marketers with the very latest social media strategies gives savvy businesses of all size a chance to ‘do’ social media in an entirely new way. Gone are the days of fumbling around in the dark. The new era is about testing, measuring and profit. From the psychological triggers that make us buy; employing social proof to stand out; using (and faking) controversy to sell more or just simply demonstrating your true competitive advantage, profitable social media marketing is here. As Head Ninja at Exposure Ninja, Tim Cameron-Kitchen has personally worked with hundreds of businesses of all shapes and sizes, and seen first hand how doing the right things on social media can transform a business. Yvonne Ivanescu came to Exposure Ninja from one of the world’s highest profile marketing agencies, and brought her brand experience to help business on the front line. This book is the distillation of everything that makes a profitable campaign, laid out in step-by-step instructions for you to follow and apply to your own business - whatever your size or market. So whether you’re a local plumber looking to pick up leads from Twitter, or an independent e-commerce site wanting the attention of influential bloggers, the strategies and profitable shortcuts for entrepreneur-run businesses in this book will give you a chance to compete in competitive markets where time and budget is of the essence.

    Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart - to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue and to Flannery O'Connor for the cunning use of the telling detail. And, most important, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted.

    How to Write Hot Sex: Tips from Multi-Published Erotic Romance Authors features everything you need to know about adding sizzling sexual tension, scorching sex scenes, and emotional impact to your romance writing in twelve info-packed essays from bestselling and multi-published authors - so you can get published and get paid.

    It outlines a set of mindsets and habits you can use to help you identify the most impactful parts of your teaching, and put them centre stage.It's about doing less to achieve more.But it's also about being happier and more confident in the classroom. Building stronger routines around the essentials will give you more time and space to appreciate and think creatively about your work.POWER UP YOUR PLANNINGLean Lesson Planning draws on the latest evidence from educational research and cognitive science, to present a concise and coherent framework to help you improve learning experiences and outcomes for your students. It's the evidence-based teacher's guide to planning for learning, and sits alongside books such as Teach Like a Champion, Embedded Formative Assessment, and Visible Learning for Teachers.NOTE If you're looking for ways to short-cut the amount of time you spend planning lessons, then this book is not for you. The approach outlined in Lean Lesson Planning requires effort and practice, that given time, will lead to better teaching and higher quality learning for less input.---CONTENTSACT I Lean foundations1. Defining lean 2. Lean mindsets 3. Lean habits ACT II Habits for planning4. Backwards design 5. Knowing knowledge 6. Checking understanding 7. Efficient strategies 8. Lasting learning 9. Inter-lesson planning ACT III Habits for growing10. Building excellence 11. Growth teaching 12. Collective improvement Lean Lesson Planning is the first instalment in the High Impact Teaching series.

    Fully updated and revised to deal with recent changes to the GMAT, they were designed with a content-based approach.The Critical Reasoning Guide demystifies critical reasoning by teaching a clear, consistent, and effective approach to understanding an argument’s logic and choosing the best answer to the given question. Unlike other guides that attempt to convey everything in a single tome, the Critical Reasoning Strategy Guide is designed to provide deep, focused coverage of one specialized area tested on the GMAT. As a result, students benefit from thorough and comprehensive subject material, clear explanations of fundamental principles, and step-by-step instructions of important techniques. In-action practice problems and detailed answer explanations challenge the student, while topical sets of Official Guide problems provide the opportunity for further growth. Used by itself or with other Manhattan GMAT Strategy Guides, the Critical Reasoning Guide will help students develop all the knowledge, skills, and strategic thinking necessary for success on the GMAT. Purchase of this book includes one year of access to Manhattan GMAT’s online computer-adaptive practice exams and Critical Reasoning Question Bank. All of Manhattan Prep’s GMAT Strategy Guides are aligned with both the 2015 Edition and 13th Edition GMAC Official Guide.

    Polish your skills, build a winning resume and land the job you've always wanted. Books, magazines, Web sites, corporate documents - find out how to improve any type of publication and make yourself indispensable to writers, editors, and your boss.Balance between style and rules Master the art of the query Use proofreader symbols Edit and proof electronic documents Build a solid freelancing career

    “I started my PhD in September 2003, but it wasn’t long before I realised that it’s much easier to get onto a PhD programme than it is to complete one…”If the aim of a PhD is to develop the skills of a professional academic researcher, how should you go about it? Using the principles of skill development as a foundation, this book provides a unique approach to the most common challenges of PhD research, including:Getting to know the literature in your fieldDeveloping your research ideasBecoming a better academic writerCoping with the stress and unpredictability of researchPublications and presentationsWriting, submitting and defending your thesis

    Chosen by the editors of the American Heritage Dictionaries, these words will appeal to anyone who wants to be a more compelling communicator—as a worker, consumer, advocate, friend, dinner companion, or even as a romantic prospect.The book includes a colorful variety of words, including handy words of just one syllable (such as glib) and words derived from the names of famous people (such as Freudian slip and Machiavellian).There are expressions from popular culture (Catch-22) and words that date back to classical civilization (spartan and stoic). Each word is clearly defined and shown in context with quotations from contemporary sources: magazines, newspapers, broadcast media, movies, and television. For many words, quotations from distinguished authors and speakers are also given and word histories are explained.Like its predecessors in this successful series, 100 Words to Make You Sound Smart provides an affordable and enjoyable way to communicate more effectively. It offers the coveted gift of gab to anyone who needs to “say it right”—and to anyone who wants to sound more articulate.

    Combining expert advice from midwives, psychologists and obstetricians with first-hand accounts, it explains what's happening with her, what's going on with your baby, and what the hell you should be doing every step of the way.With tips from those who know, what-to-do explanations and fascinating facts, this survival guide will ensure you're armed and ready for your role as a new father - from discovery to delivery and beyond. A must-read for all fathers-to-be.

    Widely used by both experienced and inexperienced writers, "The Little, Brown Compact Handbook "works as both a comprehensive classroom text and an accessible reference guide.

    Rules of style and technique are covered, with examples of expert prose from the masters. An Appendix covers punctuation and grammar.

    Here is an easy-to-use rhyming source for writing poetry, rap, slogans, songs, greeting cards, and stories.

    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

    It introduces preemptive opening bids, overcalls and takeout doubles.