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Brilliant
Rhinestones: Vintage and Contemporary Jewelry
Ronna Lee Atkins
Collector Books
http://www.collectorbooks.com
Reference
Hardcover
January 2003
229 pages
$24.95 USD
ISBN 1-57432-295-8
From 1837 and well into the 1970's, this book displays an impressive collection
of bangles, bobbles and beads. Atkins' collection showcases the rhinestone
in all its shapes, colors and forms. Rich reds, deep purples and lovely
blues disabuse the notion that rhinestones only come in clear.
This book is not all rhinestones, though. There are many enameled, silver,
plastic and even ceramic pieces. The book is arranged into six main
sections. Early Costume explores jewelry particularly from Czechoslovakia,
Austria, West Germany and East Germany. The next, and largest section is
"Rhinestones by Color," where glittery earrings, pins, necklaces and
more are displayed in groups, alphabetically by color. Then there are
sections devoted to Accessories, Christmas, Sterling and Silver and 10 Karat
Gold Filled. The book finishes up with a selection of advertisements,
which can be a lot of fun to look at, as they give an interesting perspective on
the advertising of that era, and shows starlets such as Claudette Colbert and
Donna Reed.
Each page has a nice, close up picture of the piece, and a short entry next to
it, describing it, giving a date and a name, if the piece is marked. It
also gives a price range, and sometimes added extras, such as if the piece feels
exceptionally heavy. This all gives nice details that you can use later,
for example, if the stones are hand set, you can study the setting out a little
and get an idea of what a piece would look like if you were to describe it as
that. Sometimes her enthusiasm for the subject really comes through, and
although I mostly find it charming, I could do without some of the comments.
Just as in book reviewing, your opinion about the piece is not as
important as the fact of the piece. Still, you could say it gives a homey
feel to what would usually be a dry commentary.
The range of jewelry here is extraordinary, both pleasing to look at
esthetically, and informative. Combinations of colors and designs that you
might not have thought of on your own are here. I'm not saying you would want to
copy the examples here stone for stone, but it helps in expanding your
knowledge, giving your mind fodder for inventing your own designs.
4 out of 5 stones
Cindy Lynn Speer, GWN Reviewer
12/16/2002
Elegant
Glassware of the Depression Era
Gene Florence
Collector Books
January 2003
237 pages
$24.95 USD
ISBN 1-57432-298-2
You may be asking, "What is a book on Depression Era Glassware doing on a
site dedicated to writing?" In my search for the best references, I
found myself exploring Collector's Books. As the name suggests, their
books are aimed at people who collect things, and want to know about prices,
what colors the glass came in, what pieces were included in the set. I am
the type of writer who, when stuck, wanders her shelves. Also, I try to be
a bit of a detail nut...would a woman in the 1930's possibly be in possession of
the amber colored ice bucket that she just broke over an intruder's head?
The answer is yes, it has a metal handle, the pattern, with its poppies is
called Gloria and if you choose blue instead of amber it would be an even
greater tragedy because the blue ones show up a lot less frequently. There
now. A lot of information you may or may not incorporate, but somehow
makes the scene richer. If you set the scene i! n 2002, you could then
say, "Drat, now look at what you made me do. This was worth
$150.00."
Written by a man whose passion for collecting glassware has made him a well
known expert in the field, this book is filled with lush color photographs.
The colors are of the richness that only glass can possess, emeralds and
scarlets and blush pinks. As a note, I'd like to say that this book does
not cover Depression Glass. The difference between Depression Glass and
Elegant Glassware is that the former was often given away as part of a store
promotion. While still beautiful (in my opinion) it does not, supposedly,
possess the quality. Elegant Glass was sold in better department stores,
and was handmade and acid etched. This book covers the glass that was
made, alphabetically by pattern, from the 1900's into the 1950's. To
wander through this book is to wander through a sumptuous world. Vases and
candleholders, and a mind boggling array of goblet shapes. Some of the
patterns are picked out in gold. The only ! thing I could wish for is a
starting price...what did the first owners pay for them? Also, the book
does lend to some disheartening feelings...does that $195.00 Fontain vase really
look like the one I broke in the great book shelf collapse of 1998?
(Actually, that's just a joke. So please do not attempt to hunt me
down and murder me. Anyway, I live very, very far away from you, and it's
not worth the air fair. Really.)
I thought this was an informative and beautifully done book, and an excellent
reference. If you can afford it, and you like the idea of it, it is
certainly a worthy addition.
4 out of 5 goblets
Cindy Lynn Speer, GWN Reviewer
12/9/2002
Glassware
Pattern Identification Guide Vol. III
Gene and Cathy Florence
Collector Books
http://www.collectorbooks.com
Reference
Trade
January 2003
269 pages
$19.95 USD
ISBN 1-57432-315-6
I thought I had a pretty good imagination. I have a connection to glass,
and so often when I write I sometimes include a tiny bit, a trace of imagery
surrounding a pitcher, perhaps, that someone is using, or try to make a goblet
that is being served to someone with poison in it somehow special, meaningful.
The trick is, always, to make the imagery work without overwhelming or
boring the reader. However, even in my brightest moments I could not have
thought up some of the patterns displayed here.
Which is where this book comes in. It shows a multitude of shapes and patterns.
Who would have thought that the pattern "Wire Spiral" with its
basic diagonal, as if the pitcher were made of many amber glass colored wires
bent together, could be so subtle and effective? The idea behind this book
for collectors is that you can take it with you and identify the pattern....on
each full color page there are a couple of pictures. Each picture is as
close up as possible, so that a collector can compare photo to reality, which
makes it all the easier for a writer to describe these things in her own
writings. The patterns are listed in alphabetical order, and by each
picture there is a box filling us in on the details, such as pattern name,
company, years made, colors the glass comes in and a number of items the pattern
can be found in. Sometimes the names don't make sense...how can something
be called "bee hive" if there are neither bees nor hiv! es present in
the pattern? Sometimes more than one piece of a pattern is represented.
"Diamond Optic," an octagonal plate with its fine molded in
pattern of diamonds turns from simple elegance to spectacular when the same
pattern is applied to a creamer. While some things are the usual, if
incredibly beautiful etched flower designs, there are things that I would think
particularly inspiring. For example, there is a cup and saucer with a
pattern of fish scales, their pinkish orange glowing luster almost begging a
story. Stranger items are also included, a glass with a clown painted on
it, goblets with standing bears for stems. A bibliography and index of
companies round the book out. Unlike most books of this type, there are no
prices, which gives it a more permanent reference shelf feel.
I'm not sure how the Glass Ware Pattern books are sorted out. On the cover
it says "Easy identification for glassware from 1900 through the
1960s." The way it's set up, you wouldn't know that it's a third
volume, and so you won't feel like you're missing anything if you don't have the
other books. I like this one better than the others, for although the
regular price guides are just as glossy and nice, and they have a more direct
focus (If you are interested in a specific type of glass, such as Depression
Ware) and often include several peaces of a set, I felt the pictures in this
book were nicer, in that they allow you to focus more on the patterns, and I
like the fact that it won't feel hopelessly out of date in a couple if years.
4 out of 5 goblets
Cindy Lynn Speer, GWN Reviewer
12/16/2002
Cunningham's
Encyclopedia of Magical Herbs
Scott Cunningham
7th Edition, 2003
Llewellyn
$14.95
ISBN 0-87542-122-9
Scott Cunningham is a magical herbalist, and for years has studied the
properties of herbs. In this seventh edition of his very popular book,
over 400 herbs have been gathered together, from onions to Tormentil.
An example entry would be:
Magnolia
(Magnolia gradiflora, M. virginiana, M. stellata) G (G refers to the health
code. Magnolia is currently considered safe.)
Folk Names: Blue Magnolia Cucumber Tree, Swamp Sassafras
Gender: Feminine
Planet: Venus
Element: Earth
Powers: Fidelity
Magical Uses: Place some magnolia near or beneath the bed to maintain a
faithful relationship.
I find this book fascinating because, as a fantasy writer who often bases her
world in our own present time, knowing the correct, established magical
and historical uses for herbs is very important to me. I love reading that
Irish Moss provides both luck and protection, that Fig helps fertility. As
a long time herbalist, this book has one of the best, easiest to understand
health code set ups that I have encountered. Plus, this information has
been collected from years of study and folklore. I have always liked
folklore because it is tradition, people who have discovered things to be useful
in certain areas have passed on their knowledge through the generations, where
it has been tested, or rejected. It may not be the type of scientific
research that would hold up in court, but in some ways it is more comforting.
People have tested these things for years, and therefore there might just
be something real, something tangible to! the thought that mugwort helps
backaches and increases fertility...although I wouldn't drink poisoned water,
filled with faith that the mugwort would protect me. For those who
practice magic as part of their religious beliefs, this is also an indispensable
guide, helping by allowing people to see if a certain deity has a special bond
with the herb, or being able to look up things that will aid them in making
poppets. (Poppets are little cloth dolls, stuffed with herbs that, while
they have a sinister reputation, if used right, can bring good things to pass
for certain individuals, such as an increase in money.) The appendixes in
the back are very useful, sorting plants out by magical intentions, and
cross-referencing plants by folk name, which is fabulous if you've run into a
plant in an older book, and would like to look it up and see what it is called
now.
I have a lot of herbals on my shelf, and while this one won't help you in the
medical aspects of herbalism, it is probably the nicest, clearest one to use one
if you want to know the lore aspects of herbs, or if you're interested in the
magical properties of the plants you see and use everyday. Including
things you might have in your refrigerator, such as tomatoes, lettuce, onions
and garlic, it is far more practical, and more readable than anything else I've
bought.
5 out of 5 tulips
Cindy Lynn Speer, GWN Reviewer
12/16/2002
Get
Published Today!
Penny C.
Sansevieri
Infinity Publishing
http://www.nomorerejections.com
January 2003
Trade
264 pages
$15.95 US
ISBN 0-7414-1111-3
When you receive your thirtieth rejection slip from an agent or book publisher,
your mind starts to wander towards the idea of publishing your own work.
But how? Who do you choose? What are your options?
These first steps may seem pretty obvious, but what do you do once
you're holding your book in your hands? Penny Sansevieri knows a lot about
these things. Her first book, "Cliffhanger," was the number one
best selling book in San Diego on Amazon for three months. Statistically,
when you think of it, this doesn't mean that she was sharing high tea with Sue
Grafton, but even when you put it in perspective, it's still an admirable feat,
and one that all of us would like to replicate.
She starts at square one, defining online publishing and its history, and
drawing on her own experience with "Cliffhanger" to explain the whys
of the situation.
Her third chapter is what truly begins the POD publishing odyssey. She
details the main publishers and what they offer, including handy charts that
shows contact information, package prices, distributors, and other essential
pieces of information, allowing the reader to quickly and easily compare their
publishing options. All the main ones, from 1stBooks to Xlibris are
listed. Then she includes some valuable tips, things that you need to
consider when you decide, such as how easily you can terminate the contract and
if you can keep all rights. One of the things I never knew POD publishers
were implementing were thresholds...if you prove that you are an extremely
marketable author, you may gain a greater chunk of the royalties. She also
makes some very sensible suggestions on how to conduct your business...for first
and foremost, you are...well, a writer. But after than, you're a business
person. Practical advice includes iden! tity packages and calling up and
listening to your answering machine. She also discusses the cover...what
you should do with the spine, and good tips on creating the front.
The marketing section has information that I think is helpful to everyone,
whether they decide to go with the POD's, or if they manage to land a contract
with Harper Collins. True, one has a much larger marketing budget than the
other...but in any case, you are your book's most ardent fan, and the one whose
attention to selling it is the least divided. She covers pinpointing your
market, creating a media kit, even getting the book reviewed. She includes
examples of press releases and contact information for many of the major
review sources. Well, except for our place. But we'll forgive her
this once.
She includes a lot of things I never considered...selling your book to
catalogues and book clubs, trying to reach new fans through various media
outlets. I doubt, personally, that I could ever convince Oprah or the
Today show to have me on as a guest, but the addresses are there, along with
some practical information for using them. She also has contact
information for various radio outlets. She also covers the more
conventional ways of creating promotion, websites, book signing and tours.
I was tempted to use the word practical a lot during this review. It's
true, for her voice is very sensible, and she truly seems to know a lot about
what she's doing. I think this book is extremely useful, with solid ideas
and advice for anyone who would like to make their work of art a success.
4 out of 5 pens
Cindy Lynn Speer, GWN reviewer
11/22/2002
The
Complete Guide to Editing Your Fiction
Michael Seidman
Writer's Digest Books
http://www.Writerdigestbooks.com
Writing
Trade
August 2000
264 pages
$16.99
ISBN 1-58297-162-5
Editing is, for many people, one of the hardest aspects of writing. The
problem is, you're too close to your work, your intent often blinds you to the
reality of what's on the page. Yet, a successful writer can't depend on an
editor to catch everything...which is where this book comes in. Showing
you how to think like an editor instead of a writer, it gives a much needed
chance to see things through the editorial point of view.
Seidman breaks things down to the elements. In the first part, each aspect
of storytelling is given its own chapter, its own close up consideration.
In the second part, he goes over these aspects as a whole, uniting the
disparate parts and showing us how to revise things into a cohesive unit.
It's a sensible way to go about teaching editing, because, at least I
believe, the details need to be treated before the book as a unit can be
effectively revised.
What really makes this book work is his free use of examples. He uses many
bits of pieces of works, and takes them apart, discussing everything that is
wrong, and in some cases, what is right. In one example, he has a
page from a manuscript about Simon the Cyrene. It doesn't read, to the
casual reader, as all that bad. A little boring maybe, but not bad.
He explains every aspect of it, and then re-writes it, showing us how each
detail built together and expanded upon takes a story from the mundane to the
amazing.
He explains things very well. The following thing is something I find
quite a bit as a book reviewer. "Less polished novelists would (and
generally do) add the background at the time of crisis: 'Faced by the
seven armed men, Dick remembered his military training and...' The problem
with this solution is that the information becomes obvious -- and thus contrived
and too coincidental. It is no less contrived, actually, when it's
mentioned earlier (the character is being created to play a particular role,
after all), but it is absorbed by the reader as part of the character and either
filed or forgotten until the author uses it."
The voice is this book is also very active, because he asks us an awful lot of
questions. This brings us in, makes us think more about what he is trying
to explain. It also teaches us more, because we're constantly being
tested. Sometimes, your answers won't match what he says, and sometimes he
will just confirm what you're already doing. In either case, it
strengthens your knowledge, so that while you're writing, you'll automatically
do some of the things he talks about.
This book is easy enough to use. I can almost imagine sitting down with it
to go over my next book. The nifty revision checklist in the back makes
this seem even more likely.
Seidman certainly knows what he's talking about. An editor for over thirty
years, he's worked for many of the big publishers, and he's also written
articles and short fiction, so he can see things from the writer's side of the
fence too. Sometimes the revelations are a little painful, but
nevertheless, it is a valuable read.
4 out of 5 inkwells
Cindy Lynn Speer, GWN Reviewer
Buy
This Book and I'll Wash Your Car: How to - Or Not To - Get a Literary
Agent
Natalie R. Collins
Published by the Author
http://www.nataliercollins.com
Writing
Ebook
September 2002
117 pages
What's the worst part about writing? The actual process may seem
hard...all those pages, all those drafts, and the editing! But most
writers will agree, their blood pretty much runs cold when think about writing a
query letter or synopsis. Both of which are essential to successfully
acquiring an agent, and both are discussed in depth in this new book. Any
one who has joined The Write List at Yahoo groups or has been lucky enough to
run into Natalie elsewhere realizes what a valuable resource she is. She
knows a lot of agents, and whenever any of us has a question about the process,
or if an agent is legit, she's often the first one we ask. That's why a
book like this, written in her clear, knowledgeable style is such a gift.
First, she discusses what agents really want. By actually asking agents,
such as Felicia Eth and Jeff Kleinman, she gives us an idea of the kinds of
things agents are looking for in query letters and submissions. She
answers questions such as, if they ask for the first fifty pages, but page fifty
ends with your character falling off a roof, then what should you do? Send
fifty two pages? The answer makes you realize that maybe agents
aren't quite as inflexible as rumors make them out to be.
The infamous query letter is discussed next. Her approach is rather cool.
She divides the letter up into parts, rather than looking at it only as a
whole. She uses the same method with the two separate chapters on long and
short synopses. By taking it down into parts, and concentrating and fully
discussing each part, step by step, it takes a lot of the enormity out of the
task, and we can see how to clearly proceed with winnowing down a year's (or
more!) worth of work into a couple of pages or one punchy hook.
All of these chapters are extremely informative, but my favorite chapter was the
one about putting together a package. Written as a sort of checklist, it
makes being sure that you've caught every detail much easier. It also has
tidbits of information, such as advice on getting an editor.
Any question I've ever come up with, I've found the answers to in
here...sometimes, a whole chapter is dedicated to it. The wicked conundrum
about whether you need an agent to see your first book, or if you need to sell
your first book to get an agent, which features Beverly Brandt's experiences.
Also, it attempts to answer the question if you always need an agent by
showing us how Jennifer Apodaca negotiates her own contracts. Katherine
Sutcliffe, who also writes a wonderful introduction to the book, and John
Blumenthal both tell us about the hard work that is so necessary in gaining
success as a writer.
There is also an excellent agent listing, headed off with a list of highly
recommended agents, and an article about self publishing.
There are a lot of how to get an agent books out there, but none, I think, have
the openness and sensibility that this one has. The amount of information
this lady knows is impressive, and most of all, it gives hope to even the most
rejected of writers.
5 out of 5 inkwells
Cindy Lynn Speer, GWN Reviewer
12/20/2002
Dream
Jobs to Go: Private Investigator
Heather
Froeschl
Intellectua.com
http://www.intellectua.com
Non Fiction
Ebook
2001
25 pages
Who hasn't secretly wanted to be a private investigator? If it's something
you were always curious about, Froeschl's book is a very good place to start.
Her own husband, Chris, is the head of Due Process Investigations, and so
she is well versed in the ins and outs of this field, not only through her
husband's stories, but her own personal experiences as well. She doesn't
rely solely on these experiences, though, but uses interviews with three other
PI's. As they answer questions about their work, from advice for young
PI's just starting out to details about what their daily life is like, we get a
better picture of the type of life they lead.
The first thing I learned from this book is that a niche is important. If
you don't specialize in a certain area, such as process service, child custody
or internet profiling, you won't be able to build a consistent reputation.
In trying to cover too many bases, you stretch yourself too thin to be of
any real use. You also don't just walk out, open an office and say,
"Hey! I'm a PI!" You need to take classes, get a license,
and get together a promotional package. All these aspects are well
covered.
The book, in pdf form, is set up in a really nice way. The chapters, such
as "The Truth About Being a Private Investigator" and "Your
Game Plan" are lined up on the left, letting you click your way through the
book. While this will be useful for reference later, you'll want to read
the book straight through the first time, because Froeschl's writing is sensible
and to the point. There is a section on e-groups, books and classes that
suggests places to gather more information.
The book does not answer certain questions, such as, do you need to be a
policeman before you become a PI, rather she gives you other people's points of
view, allowing you to decide for yourself.
This book would make a great beginner's primer to help people understand how to
actually get into the Private Detective field. It would also make a good
writing resource for people considering opening up their own fictional firm.
4 out of 5 deerstalkers
Cindy Lynn Speer, GWN Reviewer
12/20/2002
Agents,
Editors and You
Michelle
Howry, ed.
FW Publications
1507 Dana Avenue Cincinnati, OH 45207
1-800-289-0962
http://www.writersdigest.com
2002 $17.99 USD
ISBN 1-58297-152-8
The day you've been rejected by your dream agent is probably not the day to review a book on getting one. But don't worry, I submitted before I read this book. The reason why I picked this book up is that it is supposed to be an insider's guide, covering a larger range of the publishing world, including both agents and editors, and I think it does its job well. The book is set up as a series of chapters that are predominately industry professional articles and interviews. The first topic they cover is "Do I need an Agent?" the last, to give you an idea of the ground covered, "Should I Consider Self-Publishing My Book?" In between they have chapters that discuss what happens after a book is sold (always, I unabashedly confess, the first chapter I read.) and even a bit on email etiquette and the impact of the anthrax scare on publishing, giving this book an up to date reassurance. At the end of each chapter is a short biography that fills us in on the writer's bonafides. The articles make for some important reading. For example, Patricia L. Fry, who wrote Over 75 Good Ideas for promoting your book writes an enjoyable article on public speaking, which is followed, appropriately, by a Q & A style interview with Fauzia Burke, the president of FSB Associates, who have been publicists for people l! ike Christopher Rice and Richard Zacks. The chapter I learned the most from was "What do I Need to Know Before I Sign?" If, like me, you're likely not to be in partnership with an agent, this chapter is particularly helpful. Timothy Perrin offers some fascinating thoughts on negotiation. He suggests that, when speaking to a publisher, and they make an offer, you say, "'Oh, is that all? I was thinking more like...' and triple whatever they offered. Make sure your voice drips with disappointment. I can virtually guarantee they'll boost their offer substantially." While I think that belief in your story is important, I think a maneuver like this, while fun to think about it, may take more guts than I have to use. Still, it is food for thought...I might even try it. The second article in this chapter is of particular interest, because Donya Dickerson discusses subsidiary rights, mentioning even British Rights. She divides them up by who generally keep! s what, which is useful, keeping you from arguing about reprint rights when in truth it's accepted that the publisher gets them, yet giving you the knowledge to back you up when you discuss things like Audio rights, which can be negotiated, and the self assurance to flat out say no to them keeping the performance rights. I always feel that picking your battles is important...and knowing things like this is the key to successfully doing so. Even the beginning chapters, which are pretty basic -- any writing book junkie probably has books that cover most of the information here -- are well done and thought provoking. I have to admit, that the thought of agent as screener for editors, while quite realistic, does make one's stomach sink. As anyone whose idly flipped through a writer's market knows, many of the familiar publishers, the people whose pretty little icons grace the bottoms of your favorite books spines and therefore are naturally at the t! op of your dream publisher's list are so swamped by people who share your goals that they no longer take submissions unvetted by an agent. Basically I thought this was a well balanced book. Rarely did I sigh and skip to the next section, because it's written pretty clearly, and the fact that these are many voices of establishable experience talking lends weight to their words and makes it feel like a more compelling read than some of the books of this type. Four out of Five inkwells, Cindy Lynn Speer, GWN Book Reviewer 12/9/2002
Vintage
Jewelry
Karen
L. Edeen
Collector Books
159 pages
$24.95 USD
July 2002
ISBN 1-57432-262-1
The idea behind this book is unique. The author displays various pieces of
vintage jewelry, with a small paragraph giving details, such as a bit of
history, what the materials are of, and a common price range. The pictures
are accompanied by a model showing the best clothing choices to wear to set it
off. An interesting idea, that takes the jewels out of the box and puts
them to a more practical use, daring people to wear their collections.
From a writing standpoint, I thought this would be interesting because it gives
you a lot of ideas about the parameters of jewelry. What shapes are
possible? What combinations, what stones are there? It does teach you a
lot, if you sit and study things out. I saw shapes and combinations I
never thought possible, and learned a bit about clasps. The sections are
divided into different types of jewelry, costume, Native American, copper, and
Mexican. Edeen introduces each section, concentrating on the
development of that kind of jewelry, and ends the section with some very cool
common sense approaches to the care of your pieces. Then the pages, each
one glossy with several clear pictures of jewelry follow. While reading
other books, I'd heard of Trifari and Hobé, but never really knew what they
generally looked like, style wise. Each brand has its own unique style.
Trifari is more floral, with entwining sinuous links set off with small
pearls or rhinestones, while Hobé often uses combinations of beads.
Especially beautiful is the section on Native American Jewelry, which even
features a couple of pieces of rare, "old pawn". (Named so
because the Native Americans often wore their wealth in their jewelry, and would
pawn it for cash and goods, to be reclaimed when they sold something, wool or
rugs, for example.) I've long seen and loved the chunky turquoise and delicate
silver pairings, or the fine, quill work looking petit point patterns, but I
also learned about things I'd never seen such, as Zuni's beautiful inlay work.
Comparing the Native American and Mexican sections gives you a chance to
see how the two cultures have influenced each other.
What makes the fashion plate part of the book interesting is that it does teach
you how to make certain pieces work. I'm a bit of a flea marketer when I
get the chance, and have long passed up chunkier, bolder pieces because I never
thought I'd be able to use them, but this book does show you how to carry off
the bolder colors and styles. Sometimes I don't agree with her choices...a
couple of outfits she suggests for going to the theater or opera look too plain
and everyday for such rare and definite excuse to dress up occasions.
I would suggest this book to romance writers in particular. Some of my
favorite bits are about things like jewelry and clothing, and this will
definitely give you solid ideas to help clothe your heroine.
Three out of Five bangles
Cindy Lynn Speer, GWN Reviewer
12/9/2002
