Ackroyd is the most effortless guide. You wander by his side through the streets of the old city, savouring its bustle, colours and its smells, the stink of living. This is much more than history; it is a tapestry of inspiration and love. You will not find a better, more visionary book about a place we take for granted. An erudite labour of love, a fan-letter to a fabulous city, and a book one suspects Ackroyd was destined to write. It illuminates the English character, and is darkly humorous in its detail, tumbling through centuries crowded with legendary events and eccentric observations, as exuberant, energetic and alarming as the city itself.
PITMAN'S Commercial Correspondence and Commercial English
There is gratifying evidence of an awakened feeling that Commercial English has hitherto been on wrong lines, having developed a jargon of its own even worse than journalese and very distressing to every educated person whose misfortune it is to have to read letters expressed in it. The University of London must be given the credit of largely stimulating that feeling when it gave a literary character to its papers set in English for Matriculation. This change which was made some eighteen years ago, has undoubtedly borne good fruit.
Nancy is introduced to the Turner sisters, Pat and Rosemary by Abigail Rem, a character who aids Nancy in the previous, and first volume of the series. They believe that their home is haunted. Nancy's father is being harassed by a crooked character, Nathan Gombet, who threatens violence. Carson Drew, undaunted, agrees to allow Nancy to investigate the house and sends his revolver with her. He will travel to Chicago during the first part of Nancy's stay at the old estate and join her later.
Gutsy Mercy Lynch returns in this sequel to Boneshaker (2009), which begins with her working as a nurse in a Richmond hospital in a strangely extended American Civil War. Her husband has died as a Union POW, and now her father is dying in the Pacific Northwest. She sets out to reach his bedside, first by riverboat and then, from St. Louis onward, by rail. The locomotive Dreadnought is a character in its own right (which reflects the view of “high-tech” at that time), and Mercy also has to deal with hostile Indians, Union and Confederate guerrillas, just plain bandits, and some of her fellow passengers with designs on her virtue and everything else that is hers.
The Dramatic Writers Companion: Tools to Develop Characters, Cause Scenes, and Build Stories
Moss Hart once said that you never really learn how to write a play; you only learn how to write this play. Crafted with that adage in mind, The Dramatic Writer’s Companion is designed to help writers explore their own ideas in order to develop the script in front of them. No ordinary guide to plotting, this handbook starts with the principle that character is key. “The character is not something added to the scene or to the story,” writes author Will Dunne. “Rather, the character is the scene. The character is the story.”
