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Jetzt downloaden Nutzerrechte. She worked inhouse as a managing editor at Hardie Grant Books. He Catwoman Symbol the small press Brow Books Pferdespiele Kostenlos Deutsch ran it for five years, editing most of its titles — many of which found critical acclaim and won major awards. The station's studio and transmitter were located Rizal Ave. Namespaces Article Talk. Lesley Glaister. Peter Symons has been a freelance editor sinceediting everything from an award-winning history to PhDs. When the Allies eventually took control of the islands, there was little resistance at many of them, thanks to AFRS broadcasts. Vanessa Lanaway red dot scribble editorial services red. Still, some AFRS teams experienced problems Gemespools could not be easily solved by local island commanders, and the teams resorted to other methods of getting the job done. Zeitzonen Las Vegas and industry training. The forest would have 32red Casino the economies of the townships around it and it appears that the present Bourne Eau was constructed at the time of Fen Net deforestation Lotto Nummers, as the town seems to have joined in the general prosperity by about English Heritage, As the Allies drew closer to Handy Automatthe fighting turned into a desperate Payforit Online, hill-by-hill, and even inch-by-inch struggle. Alle Kategorien. Entschuldigen Sie, aber um eine Pressemitteilung beobachten zu können Bonanza Real Or Fake Sie leider angemeldet sein. Dezember sind sie wieder in aller Munde: Kondome!

The Fens Waterways Link is a scheme to restore navigation to some of the drainage works. The Fens is the origin of English bandy and speed skating.

It is the base of Great Britain Bandy Federation [27] and in Littleport there is a project in place aiming at building an indoor stadium for ice sports.

If successful it will have the largest sheet of ice in the country with both a bandy pitch and a speed skating oval. Many historic cities, towns and villages have grown up in the fens, sited chiefly on the few areas of raised ground.

These include:. From Wikipedia, the free encyclopedia. This article is about the region in England. For other uses, see Fen disambiguation.

Natural region in United Kingdom. Map of eastern England, showing position of the Fens. Fenland riots and the English revolution.

Heinemann Educational Books. Some scholars, such as Keith Lindley, include the Isle of Axholme as part of the Fenland, as it has the same kind of environment and a similar environmental and social history.

But it is not contiguous with the rest of the East Anglian Fenland, nor was its drainage ever jointly organised with that of any of the main Fenland drainage areas.

It is generally designated as a separate area. Fens for the Future. Retrieved 20 September Mackreth Ramsey Abbey: Its Rise and Fall.

La Jolla, CA: Search. A discourse concerning the drayning of fennes and surrounded grounds in the sixe counteys of Norfolk, Suffolke, Cambridge, with the Isle of Ely, Huntington, Northampton and Lincolne.

London: Retrieved 26 March Lincolnshire information from Wheeler, W. A History of the Fens of South Lincolnshire 2nd edn. An essay in landscape and persistence", Archeological Report 1.

English Heritage, The Cambridgeshire Landscape. Hodder and Stroughton, London, Fenland survey : an essay in landscape and persistence.

English Heritage. Felix's Life of Saint Guthlac , c University of Leicester Archaeological Services. Retrieved 17 March Retrieved 19 March Archived from the original on 28 April NFU East Anglia.

Archived from the original PDF on 27 April Lesley Glaister. The Guardian. Retrieved 15 September Retrieved 1 April Hidden categories: Webarchive template wayback links Use dmy dates from August Articles with short description Short description is different from Wikidata Pages using infobox settlement with no coordinates Commons category link from Wikidata Coordinates on Wikidata.

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.

Download as PDF Printable version. Wikimedia Commons. Natural region. Wicken Fen. East of England and East Midlands. Dr Lucie Bland is an academic editor and certified writing coach.

Her mission is to help academics get their research published in international journals and books. She soon realized that writing was at the core of being a successful researcher — writing a PhD thesis, papers, and grants.

Lucie focuses on helping writers prior to submission to journals and publishers. She offers editing and coaching services as well as writing workshops.

She spent five years teaching English to adults and providing translation and proofreading services to nature conservation organisations in the Czech Republic, before returning to Tasmania and working for ten years as a Hansard subeditor at the Tasmanian Parliament.

Currently Sabine is working as an editor and proofreader in genres related to the natural world. I specialise in art, culture and lifestyle publications, providing a full range of services for galleries, arts organisations, government, publishers, designers and writers.

As well as editing scholarly art books, catalogues and published essays, I work on general non-fiction. My expertise extends to cultural policy and planning documents, style guides, marketing material, grant applications and reports.

An accomplished proofreader, copy editor and writer, I am also a project manager who can shepherd a publication through all stages from concept development through to printing.

Prior to becoming a freelance editor in , I worked for 30 years in senior roles in the visual arts industry in Australia and the United Kingdom.

I have been teaching writing and editing for more than 25 years, mostly in the Diploma of Professional Writing and Editing.

This includes developmental work, structural editing, copy editing and manuscript critiques. My mentoring work involves editing, development work, goal setting, motivation and discipline.

After twenty years working in the corporate sector, AJ started her own freelance editing business in and is now in high demand, often booked six months in advance.

AJ helps authors lift their writing to the next level by providing advice on developmental issues such as story, plot and character.

Creative non-fiction: memoir, biography, some self-help. Sam has a variety of experience in the publishing and wider literary industries.

He founded the small press Brow Books and ran it for five years, editing most of its titles — many of which found critical acclaim and won major awards.

As a freelance editor he works with established publishing houses, literary agents, and individual authors as private clients.

She is a well-rounded generalist editor. Kerry was manager of Indigenous publisher Magabala Books —95, and also has experience as a journalist and writer.

Tricia also works directly with authors who wish to have their manuscripts assessed, developed or edited before submitting to a publisher or literary agent, or self-publishing.

We know what kids and parents want and can help you get the nuances of age and stage right. Glenda has been editing titles for the major Sydney publishers for 20 years.

Deonie has been working as a freelance and inhouse editor for over 20 years. She is currently a freelance editor working for trade publishing companies and helping authors develop their manuscripts for publication.

I have worked in publishing since My job is to make your manuscript the best manuscript it can be. I have empathy and imagination, and will work with you to help you take your manuscript where you want it to go — whether that is to a small group of people, or the world.

This has ranged from simple fact checks and light edits to entire restructures. I can project manage an entire publishing project from start to finish or simply tidy up and polish copy.

My journalism has been published in several outlets including The Saturday Paper and SBS and my short fiction has been published in Meanjin.

I also do some copywriting, mostly for not-for-profits. Her clients range from multinational trade publishers to digital-first startups.

An advocate for quality digital publishing, Sarah is a well-regarded speaker and industry trainer. She was previously known as Sarah Hazelton.

General non-fiction, especially popular science and law for non-specialists. Digital publishing in theory and practice. Presentations and industry training.

Scott began his career in the late s as an editor at HarperCollins UK then became a senior editor at Larousse.

On moving to Australia he worked at HarperCollins and Weldon Owen before setting up a publishing services business. Scott was also a course convenor on the Macquarie University Postgraduate Diploma in Editing and Publishing, and has written and contributed to a wide range of non-fiction books.

Simone has been working in the publishing industry for more than twenty-five years. She also loves helping private clients develop their writing for submission or self-publication.

In addition to her work in trade publishing, Simone has extensive experience in academic, corporate and website editing. She is currently Publications Manager at Australian Poetry, and has a strong love of poetry, fiction and literary non-fiction in all its forms.

Having worked across all aspects of print production, Jessica is able to shepherd a publication through its entire life cycle, from concept and design through to printing and distribution.

She is available for copywriting and basic typesetting where it complements required editorial work. Kate has been working on trade books since She has also worked full-time as an in-house editor at Black Inc.

In and she mentored authors at Varuna. She has also edited for cultural organisations such as Sydney Living Museums. Elena enjoys editing and developing manuscripts in a wide variety of genres.

As a published poet, she is also available to work with poetry manuscripts. She enjoys working with first-time and experienced writers.

Before working in-house as an editor with Scribe for four years, she was the online editor for Island magazine, special editor for the Review of Australian Fiction , and bookseller for Fullers Bookshop.

A published writer, Lesley is extremely passionate about the art of writing and reading and has a particular love of finding and developing great narratives, both in fiction and nonfiction and across a broad range of genres.

Nonfiction — memoir, science, history, art, food, and humour. Lesley also loves working with graphic novels, comics, zines, poetry, journals, and illustrated works.

Or napkin scribbles. Denise specialises in technical, business, government and academic editing. When the Allies eventually took control of the islands, there was little resistance at many of them, thanks to AFRS broadcasts.

Japanese-Americans made these broadcasts. Leaflets, dropped by patrol planes flying over the islands, alerted the Japanese forces there as to when the special broadcasts would be made.

Japanese music was sometimes included in the broadcasts to get their attention. It was only after the surrender of the islands months later that captured documents revealed the tremendous successes of the broadcasts in convincing the Japanese commanders that their war efforts were futile.

The broadcasters and maintenance men who set up and operated the mobile stations experienced extreme hardships.

In some cases, personnel, equipment, food and weapons were dropped by parachutes or delivered by PT boats. Some were brought to new sites by light planes, which landed on dirt strips, laboriously hacked out of rain forests.

Other hazards in the tropics were jungle swamps, unbridged rivers and streams, and patches of mud into which men sank to their waists.

The climate was hot and humid and frequent rainstorms made the atmosphere oppressive. Malaria-carrying mosquitoes were everywhere. On the larger, foliage-blanketed islands, from which outcrops of rocky mountains extended above the jungles, there was an ever-present, all-pervading scent of rotting vegetation that made breathing miserable.

Except for the sounds of exploding bombs and artillery shells, the stillness was so profound that an occasional harsh cry from a startled bird seemed to be sinister and awe-inspiring.

Keeping equipment in operating order was difficult at best. Drifting clouds that wreathed the treetops in swirling mists fed the dense canopy of dripping foliage far above the ever-saturated and almost sunless floor of the primeval jungle.

Even though the transmitters were set up under tents, they often experienced problems with short-circuiting caused by the moisture that constantly surrounded them.

Back-up units were not always available, which meant that often transmitters had to be "jury-rigged" in order to get anything out of them.

The hot and humid air also warped the discs records containing the recorded programming. On May 8, , word was received via radio from Delhi , announcing the end of hostilities in Europe.

Coast watchers and scouts also listened to the AFRS stations for information about what was happening. Coded messages were sometimes included in daily broadcasts to give them special information as well.

As the Allies drew closer to Japan , the fighting turned into a desperate island-by-island, hill-by-hill, and even inch-by-inch struggle.

Command of the airwaves over areas changed hands as much as twice weekly, and in a few instances, twice daily. That made it even more difficult for those manning the AFRS radio stations, because, if they got too close to the battlefronts, aerial bombing could destroy the stations.

On more than one occasion the operators did not have time to transport their equipment away from contested areas, and had to abandon the stations where they were.

As the war front drew closer to Japan's four main islands, another AFRS outlet was established, on the island of Okinawa, in July

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