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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. She also has expertise in compiling and analysing data, statistics and research.
Claire is a qualified accredited editor. Claire has a good working knowledge of both Australian and British style and can edit accordingly.
She has a special interest in plain English and document accessibility. Her freelance business includes an audio transcription service for authors.
Vanessa has been an editor since Portia has worked for the Manuscript Appraisal Agency and manages submissions for Seizure, as well as working as a reviewer and industry insider in bookshops and NSWWC for many years.
Before life as a freelancer, Martine worked in-house for Hinkler Books as its managing editor. She spent several years as senior editor of pictorial books, merchandise and general reference books for Lonely Planet Publications.
Her clients include trade publishers as well as not-for-profit organisations and individuals. Nikki moved from practising criminal law to editing legal, academic and trade books in She began freelance editing in , having previously worked in-house as an editor at UQP and a senior editor at Black Inc.
Kylie has been a freelance editor for eleven years and has also worked inhouse for HarperCollins and Pan Macmillan. I have formal qualifications from the Publishing Training Centre for both Copy Editing and Proofreading, as well as being trained on the job by some of the best publishers and editors in the business.
Before Penguin, I ran the editorial department of a self-publishing company, working with a range of authors on their projects, to make their writing the best it could possibly be, and guiding them through the process of becoming an author.
I also currently work with major romance publisher, Mills and Boon — my not so guilty pleasure. She started a freelance book editing and assessment business in , and since then she has worked for several small publishers and directly with both new and experienced writers.
Screenplays: any genre. He has worked as commissioning editor at HarperCollins, associate publisher non-fiction at Hardie Grant, and Picador publisher at Pan Macmillan.
In he co-founded independent publisher Brio Books. He has extensive experience editing manuscripts in the following genres: memoir, biography, history, true crime, popular science and mathematics, current affairs, politics, sport and travel.
She is a founding member of the Society of Editors, WA. After ten years working in the public and private sectors, Christine started her own freelance editing business in Since then she has helped authors achieve commercial publication, assisted self-publishing writers, and worked with award-winning writers in developing their writing.
Christine offers a supportive, collaborative partnership to help authors bring their writing to the next level. She provides advice on developmental issues such as story, plot and character, as well as polishing manuscripts in the line and copy-editing stages.
She also works directly with authors to assess, develop and edit manuscripts. Abigail has a background in copywriting, magazine sub-editing and legal editing, and has been a freelance editor for more than eight years.
Kate has been a trade publishing editor since I recognise the time, energy and care it takes to write a manuscript and I work closely with my authors to nurture their work and shape their words into the best possible book, one with powerful characters, compelling storylines and meaningful messages.
Nicola has been working as an editor since the early s. After several years in-house at HarperCollins, she set up her own freelance editing business in She also works with authors who choose to self-publish.
My editing career began in when, as a freelancer, I started working with technical, science and business writers. I developed and presented writing strategy workshops for nonfiction writers, and often helped set up corporate or departmental style sheets.
While I shy away from academic editing, I enjoy helping academics and practitioners share their expert knowledge using language that will be easily read and understood both within and outside their field.
Alexandra has worked as an editor and publisher in trade publishing for more than two decades. She has been employed inhouse at both multinational and independent publishers, including Penguin and Hardie Grant.
She now works freelance for both trade publishers and individual authors. She worked in-house at Oxford University Press, Melbourne, as a development editor before going freelance in She has worked across a broad range of materials, including educational textbooks, trade non-fiction, fiction and literary journals, and her clients include UWA Press, Wiley, Pearson, Fremantle Press, Magabala Books, Margaret River Press and Westerly magazine.
Nicola has been working in the publishing industry for nearly two decades, including five years in legal publishing and thirteen years in trade.
She was non-fiction editor at Scribe Publications for five years, where she helped strengthen the narrative non-fiction list, and worked with new Australian voices including David Carlin and Vivienne Ulman.
She also provides editorial consultation to writers with manuscripts underway, and runs workshops and lectures for institutions including Writers Victoria and RMIT.
Collaborative style. By shepherding writing to publication, I help readers to enjoy books, students to learn from course materials and communities to form around websites.
A few obtained theirs through what came to be known as "midnight requisitions," or simply absconding with them from various sources.
There were times when pieces of captured equipment were modified and used. During the summer and early autumn of , the Pacific Ocean Network added several other stations to its chain, including those on Saipan and Guam Mariana Islands in July and August , and on Peleliu and Ulithi Caroline Islands in September The station on Ulithi sometimes operated up to nineteen hours a day to serve the gigantic fleets anchored nearby.
The term "island hopping" is often used to describe the way in which Allied forces advanced toward Japan, mainly because many Japanese-held islands were literally bypassed, or hopped over.
Some were neither captured nor occupied by Allied forces until after the official Japanese surrender. 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. The final success came in the s when windpumps were replaced with powerful coal-powered steam engines , such as Stretham Old Engine , which were themselves replaced with diesel-powered pumps, such as those at Prickwillow Museum and, following World War II , the small electric stations that are still used today.
The dead vegetation of the peat remained undecayed because it was deprived of air the peat being anaerobic. When it was drained, the oxygen of the air reached it, since then the peat has been slowly oxidizing.
As the highest parts of the drained fen are now only a few metres above mean sea level, only sizeable embankments of the rivers, and general flood defences, stop the land from being inundated.
Nonetheless, these works are now much more effective than they were. As of , there are estimated to be 4, farms in the Fens involved in agriculture and horticulture, including arable, livestock, poultry, dairy, orchards, vegetables and ornamental plants and flowers.
They employ about 27, people in full-time and seasonal jobs. In turn, they support around businesses involved in food and drink manufacturing and distribution, employing around 17, people.
In , the Great Fen Project was initiated to return parts of the Fens to their original pre-agricultural state.
The modern approach is to allow a little farmland to be flooded again and turned into nature reserves. By introducing fresh water, the organisers of the project hope to encourage species such as the snipe , lapwing and bittern.
Endangered species such as the fen violet will be seeded. 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  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.