Ruby McCracken's life is OVER. Her parents have forced her to move to the Ordinary World and that means -- new home, new school and worst of all, no magic! Seriously?! A witch without magic? That's LITERALLY tragic. Ruby has to leave behind her broomstick (and walk everywhere -- YUCK!) and her friends (no more watching Hex Factor together on a Saturday night). She's absolutely STARVING with no snack spell, and there's no way to get revenge on the mean girls at her boring new school without a good curse. Despite her best witching efforts, the Ordinary World remains tragically magic-deprived, until Ruby receives a mysterious hext that seems to offer an answer. That is, if she can figure out what it means and, more importantly, who sent it. Packed with great humour, loveable characters and witty banter, Ruby McCracken: Tragic Without Magic is perfect for fans of Witchworld and The Worst Witch.

The annual, bestselling guide to all aspects of the media and how to write and illustrate for children and young adults. Acknowledged by the media industries and authors as the essential guide to how to get published. The 70+ articles are updated and added to each year. Together they provide invaluable guidance on subjects such as series fiction, writing historical or funny books, preparing an illustration portfolio, managing your finances, interpreting publishers' contracts, self-publishing your work. Foreword by Sally Green, author of the award-winning YA fantasy trilogy: Half Bad (2014), Half Wild (2015) and Half Lost (2016). NEW articles for the 2018 edition on: - Writing for reluctant readers by Jon Mayhew - Writing for teenagers by Holly Smale - Choosing the right agent by Gill McLay or the Bath Literary Agency - Plotting: getting started with your YA novel by Sarah Mussi - Writing adventures in the real world: children's non-fiction by Isabel Thomas All of the 2,000 listings of who to contact across the media have been reviewed and updated. The essential guide for any writer for children.

Goodnight Desdemona (Good Morning Juliet) is an exuberant comedy and feminist revisioning of Shakespeare’s Othello and Romeo and Juliet. It takes us from a dusty office in Canada’s Queen’s University, into the fraught and furious worlds of two of Shakespeare’s best-known tragedies, and turns them upside-down. Constance Ledbelly is the beleaguered “spinster” academic, and unlikely heroine who embarks on a quest for Shakespearean origins and, ultimately, her own identity. When she deciphers an ancient and neglected manuscript, Constance is propelled through a very modern rabbit hole and lands smack in the middle of the tragic turning points of each play in turn. Her attempts to save first Desdemona, then Juliet, from their harrowing fates, result in a wild unpredictable ride through comedy and near-tragedy, as mild-mannered Constance learns to love, sword-fight, dance Renaissance-style, and master a series of disguises… Goodnight Desdemona (Good Morning Juliet) a gender-bendy, big-hearted and crazily intelligent romp, where irony and anger sing in perfect harmony with innocence and poignancy.

The heart-wrenching tale of a girl's courage to save her village from the Highland Clearances.

Ishbel and Kenneth need to spare their family from going hungry, so when they recollect the old neighborhood story about fortune under Urquhart Castle, they set off crosswise over Loch Ness in a paddling pontoon.

THE ACCLAIMED BOOK, NOW IN PAPERBACK, with a reading group guide and a new afterword by the author. At the height of the Cold War, JFK risked committing the greatest crime in human history: starting a nuclear war. Horrified by the specter of nuclear annihilation, Kennedy gradually turned away from his long-held Cold Warrior beliefs and toward a policy of lasting peace. But to the military and intelligence agencies in the United States, who were committed to winning the Cold War at any cost, Kennedy’s change of heart was a direct threat to their power and influence. Once these dark "Unspeakable" forces recognized that Kennedy’s interests were in direct opposition to their own, they tagged him as a dangerous traitor, plotted his assassination, and orchestrated the subsequent cover-up. Douglass takes readers into the Oval Office during the tense days of the Cuban Missile Crisis, along on the strange journey of Lee Harvey Oswald and his shadowy handlers, and to the winding road in Dallas where an ambush awaited the President’s motorcade. As Douglass convincingly documents, at every step along the way these forces of the Unspeakable were present, moving people like pawns on a chessboard to promote a dangerous and deadly agenda.

In the decades following his death, many of those who knew James Dean best––actors, directors, friends, lovers (both men and women), photographers, and Hollywood columnists––shared stories of their first-person experiences with him in interviews and in the articles and autobiographies they wrote. Their recollections of Dean became lost in fragile back issues of movie magazines and newspapers and in out-of-print books that are extremely hard to find. Until now. The Real James Dean is the first book of its kind: a rich collection spanning six decades of writing in which many of the people whose lives were touched by Dean recall their indelible experiences with him in their own words. Here are the memorable personal accounts of Dean from his high school and college drama teachers; the girl he almost married; costars like Rock Hudson, Natalie Wood, Jim Backus, and Raymond Massey; directors Elia Kazan, Nicholas Ray, and George Stevens; entertainer Eartha Kitt; gossip queen Hedda Hopper; the passenger who accompanied Dean on his final, fatal road trip; and a host of his other friends and colleagues.