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Dragon Mated: Supernatural Prison, Volume 3

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Audible Audiobook

Listening Length: 9 hours and 57 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Jaymin Eve

Audible.com Release Date: November 9, 2016

Whispersync for Voice: Ready

Language: English, English

ASIN: B01MTJZY13

Amazon Best Sellers Rank:

I usually have the hardest time enjoying the last book in a series. Mostly because I sometimes feel like the author was trying too hard or the ending was too rushed or the author took the cheap way out and made the ending something easy. That definitely was NOT the case here. Jaymin ripped your heart out, gave you hope, made you love, and just simply made you laugh.Jessa is stuck with Larkspur, the King who has kidnapped her. He is meant to be her mate along with Braxton but the thing is, it isn't natural. There were things that the King did to ensure that Jessa would be his, a thousand years ago. How can one decide that someone in the distant future is theirs and that they must accept it? Jessa definitely does NOT accept it. She has Braxton, her one and only true mate and she isn't giving him up for the world.Braxton went absolutely bonkers when Jessa was taken. She keeps getting taken and it is tearing away at him. But he will most definitely burn the world down to get to his mate. Nothing will get in the way of that. His brothers are in the same mindset, Jessa is their girl and they need her as much as she needs them.Between the escape from Larkspur, finding a way to stop him, and actually fulfilling that there is so many things that happen. Jessa is so resilient through it all, she has her ups and downs but with the Compass quads with her, she will do anything she that she needs to to make things right. To save the people that she loves and the people that are innocent.There are twists and turns you may see coming but others that sort of just smack you in the face and make you think "What the F***!?"I enjoyed the snark of Jessa, the possessiveness of Braxton, Jacobs smart ass remarks, Tysons new hair cut ;) and Max's broodiness.Jaymin gives you the ending that you so desperately want but then she also takes something. She definitely didn't take the easy way out, she made the tough choices you can't help but cheer for even though they might make you want to scream.This is an excellent end for the Supernatural Prison Trilogy but also a great setup for the remaining Compasses' stories to be told. After all, they all deserve their own happy ending.

I admit to being nervous when I started this book. I loved the first two in the series but I don't know this author enough to be sure that the ending of a trilogy will work out well. And there is this little matter of a choice that Jessa will have to make in this book. Yeah, I shouldn't have worried.I love it when an author can surprise me. It doesn't happen often but this time it did. I was expecting one thing and got something completely different. I was happy about the choice and though Jessa is forever changed, I was relieved. It brought her story to a close with perfection.As I have said before, I love these characters. The idea of a quad of boys all willing to die for their best friend Jessa? It speaks to my reader heart. And I adore all four of these boys. There never was anyone but Braxton for Jessa - so no worries there. The other three deserve their happy as well. I was excited that Max will have his own book with Broken Compass and Ty will get his with Magical Compass. I am hoping that another book will happen for Jacob.This author uses a lot of details. It's nice to have the whole story and see it clearly in your mind. It sometimes feels like it breaks the action but it also makes everything clear. There were a couple of details that I hope get cleared up with Max's story. His mate didn't make sense to me. So while this book ends Jessa and Braxton's story, there are still things to be explained. A broken compass to fix. I'm excited to dive into the next one.I really belief that anyone who reads PNR will love this book. It has every magical being you could possibly like and combines them into a great world where there are still so many possibilities. This is the good stuff. Don't miss it!

To be quite honest, I wasn't too thrilled with the first half of this book, in the way of the large lack of action. Besides the bit of fun we had at the very beginning, duking it out in the labyrinth, it was all very repetitive with their need to "find any way to defeat Larky." Kinda dull.Not to say that I was disinterested in the book. Not by any stretch of the imagination. I just was expecting a bit more action since there are SO MANY baddies to fight now that everyone's out of prison or the Otherworld.I absolutely ADORED the new dynamics between Brax and Jess, however!! I think Brax is going soft now, at least where Jess is concerned. I loved his adoring manner when it came to her and the constant care he took of her well-being and happiness:“I love you too, Jess. I always have.” His words were low and serious as he stepped closer. Hot flashes started rocking through me. I wanted him so badly it was painful. “I’ll find you an entire cake. A godd*** truck filled to the brim with cakes.”This just so perfectly summed up their relationship and is too friggin' hilarious for words at the same time. Let us just soak them up and let them ferment...Amazing.Jessa never ceases to amaze and amuse me. Calling the Dragon King "Larky." GOLD! Rose saying "He would hate that nickname," and Jessa is just like "YES! I knew it!" HA! Also, girl does not know the meaning of the word "subtle." Or the words "laying low." Come to think of it, I don't think anything that doesn't include hard and immediate action is a part of our Jessa's vocabulary. But that's why we love her, right?And Rose. Little miss frail-on-the-surface has a bit of venom in her nectar center. Girl has got some serious thorns. Definitely not one to be underestimated. *cough cough LARKY cough* Wish I could've seen more of that one. Her utter disdain when it came to Jessa's poor acting skills was hilarious. And her response of just taking matters into her own hands was unexpected, though not at all unwelcome. Like I said; THORNS.That ending battle between Larky and Stratford, though....PERFECTION!! Such sweet perfection!! So sad, but so totally wicked. I loved every action-packed moment of it, and I am reminded of how completely bada** our girl Jessa truly is.The ending though (after the battle)...Now that was just all kinds of NOT FAIR! Does literally NO ONE get a happy ending? Besides maybe Jessa and Brax? That's just messed, to the Max. (No pun intended, but so accurate). Many a thing better be remedied in that area through the companion novels. MANY THINGS!P.S. WTF happened with Kristof, Vlad, and all the other Vanguard A-holes we had sufficient cause to be renewably worried about from the last book? Huh? Where are those MotherF****** hiding? End Rant.In all though, I was pretty pleased with how this final boom went. Kind of—though not really—the conclusion I envisioned. Definitely will be waiting with vigor for its continuation, however.

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PDF Ebook Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks

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Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks

PDF Ebook Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks

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From the Back Cover

The math is done for youin this beautiful collection of classic and contemporary quilt blocks, a go-to reference for quilters of all abilities. Discover new blocks and mix and match them to create your next keepsake quilt!BLOCK GENIUSFull-color illustrations and easy-to-follow instructions to make 201 quilt blocks in 6-, 9- and 12-inch sizesExploded assembly diagramsMeasurements to help you resize or design any grid-based block"Good to Know" tips and techniquesClearly photographed step-by-step techniques144 pages

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About the Author

Sue Voegtlin has been Landauer's photographer since 2008 as well as having designed several popular patterns for Landauer quit books. She is an avid outdoorswoman and outdoors photographer. Sue has been sewing for decades beginning with garments and now is an avid quilter. Her photography is featured in several of Landauer's award-winning books.

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Product details

Paperback: 144 pages

Publisher: Landauer Publishing; First edition (September 15, 2016)

Language: English

ISBN-10: 1935726900

ISBN-13: 978-1935726906

Product Dimensions:

8.2 x 0.5 x 10.8 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

18 customer reviews

Amazon Best Sellers Rank:

#311,293 in Books (See Top 100 in Books)

Book have some great block ideas but be ready to be annoyed with the book. I’m only on block 32 and already found 4errors with measurements. Definitely not good for beginners. Also she teaches you new ways to do blocks at the begin of the book but then doesn’t give you those measurements throughout the book. Makes it hard to know what technique to use especially when she gives you the wrong page number all the time. Wouldn’t buy it again and probably won’t use the book again once finished. Editors definitely didn’t do there job on this book :/

This is a really nice book good illustrations and information

This book is amazing. Lots of different quilt block designs, and I really like almost all of them. The instructions are very easy to follow.

This book has been just what I was looking for.

This is an amazing resource for any quilter.

Loved my book

Just the book I have been looking for. All the measurements done for me.

I think this book is a very usefull one for the ADVANCED QUILTER

Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks PDF
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Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks iBooks
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Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks Kindle

Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks PDF

Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks PDF

Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks PDF

Block Genius: 201 Pieced Quilt Blocks with No Match Charts (Landauer) Clear Instructions, Expert Advice, Accurate Measurements, and Exploded Diagrams for Classic 6, 9, and 12 Inch Blocks PDF

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Product details

File Size: 821 KB

Print Length: 330 pages

Page Numbers Source ISBN: 0674729013

Publisher: Harvard University Press; 1 edition (April 14, 2014)

Publication Date: April 14, 2014

Sold by: Amazon Digital Services LLC

Language: English

ISBN-10: 0674729013

ISBN-13: 978-0674729018

ASIN: B00JQ3FN7M

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Amazon Best Sellers Rank:

#24,286 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Okay, well maybe I am overstating that a little. But the main "thesis" of Peter Brown's book - aside from being a summary of what cognitive science data shows about how we learn - is basically that many of the things we often assume about learning are wrong. Here are some of them: we learn best by reading and rereading a passage until we really understand it. WRONG! We learn best when we isolate a skill and practice it over and over again. WRONG! We all have learning styles that are the way we learn best. WRONG! IQ (or something like it) imposes relatively firm limits on how much information we can absorb. WRONG!In this pretty easy-reading book, Peter Brown summarizes some of the latest findings in cognitive science, and many of these findings contradict what is often assumed about learning. First, many k-12 and college students are taught to (and do) use the 'reread and highlight' method to try and absorb content. Well, while this works to an extent, it leads more to an illusion of mastery than mastery. What works better? Read the content and quiz yourself; information retrieval is the key. Retrieving helps to build stronger connections in the brain that will lock information into memory. What's more - and this is another chapter - the harder the retrieval, the stronger your retention of what is retrieved. (So, writing a short essay recalling the concepts works better than true/false and multiple choice recall.)Another myth? While we all certainly have learning preferences (I like to receive my information in written form), that doesn't mean we learn best when receiving information in that form (I can do as well when I receive information audibly as when it is written, even though I prefer the latter). Brown reviews literature that shows that, at least as of now, there is no evidence that shows that how one receives information substantially affects how well we learn the material (after all, hearing or reading a phone number is immaterial to what i am remembering: not the sound or sight of the number, but the number itself). But what they do find is that whether one is an "example learner" or a "rule learner" does have an impact in how well one learns. That is, those who see and practice a math problem and are able to see what the rules are behind the example and commit the rule, rather than the example, to memory will tend to learn better. Also, another factor that affects how well we learn is our mindset, whether we learn for mastery or learn for performance. Those who learn for performance - so that they can show how good they are - tend to tackle learning new things (things that might make them look bad) with trepidation, but those who learn for mastery aspire to acquire new skills openly, without regard to whether they will fail before mastering.These are just some of the lessons from this book. Whether you are a student, teacher, professor, coach, trainer, or any other professional whose job entails teaching others, this is a good book to have. (I'm a professor in a College of Education, and I definitely plan on allowing what I've gleaned from this book to inform my practice.) It is quite informative not only by way of learning theory, but backs up the theory with both empirics and suggestions for practice. Good one.

  â€œPeople generally are going about learning the wrong ways. Empirical research into how we learn and remember shows that much of what we take for gospel about how to learn turns out to be largely wasted effort. Even college and medical students—whose main job is learning—rely on study techniques that are far from optimal. At the same time, this field of research, which goes back 125 years but has been particularly fruitful in recent years, has yielded a body of insights that constitute a growing science of learning: highly effective, evidence-based strategies to replace less effective but widely accepted practices that are rooted in theory, lore, and intuition. But there’s a catch: the most effective learning strategies are not intuitive. ...This is a book about what people can do for themselves right now in order to learn better and remember longer. ...We write for students and teachers, of course, and for all readers for whom effective learning is a high priority: for trainers in business, industry, and the military; for leaders of professional associations offering in-service training to their members; and for coaches. We also write for lifelong learners nearing middle age or older who want to hone their skills so as to stay in the game.While much remains to be known about learning and its neural underpinnings, a large body of research has yielded principles and practical strategies that can be put to work immediately, at no cost, and to great effect.”~ Peter Brown, Henry Roediger, Mark McDaniel from Make It StickWant to learn about the science of successful learning?Then this is the book for you. Make It Stick is written by story-teller Peter Brown and two leading cognitive scientists who have spent their careers studying learning and memory: Henry Roediger and Mark McDaniel.It’s a fascinating exploration of what science says about the most effective learning techniques— shining light on the techniques that actually work and those that do not work—even though we may think they do!Hint: Rereading, massed “practice-practice-practice” sessions, and cramming are not wise strategies. Active retrieval, interleaving, spaced repetition, reflection, elaboration, getting your mind right and practicing like an expert, on the other hand, are very good strategies.Here are some of my favorite Big Ideas:1. Fluency vs. Mastery - Don't just go w/your feelings.2. Cranberries + Testing - Active retrieval is where it's at.3. Curveballs - Interleave yourself some curves.4. Elaboration - Explain it like I'm 5.5. Testing - Static vs. Dynamic.To optimizing and actualizing and making it stick!

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PDF Download The Inner Voice: The Making of a Singer

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The Inner Voice: The Making of a Singer

PDF Download The Inner Voice: The Making of a Singer

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Review

"Those of You Who Perform--musicians and dancers--will have by now practiced perhaps three thousand hours a year times fifteen years, which equals forty-five thousand hours Which means collectively that you as a group will have practiced eleven million hours. Challenge the idea that the arts are for a select few--teach, make more people love what you love, and help them to understand why you dedicated those eleven million hours in the first place."A revealing account of how an opera career is launched and sustained... Illuminating. ("The Charlotte Observer")

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About the Author

Renée Fleming has been heralded throughout the world by public and press as one of the great voices of our time. An international artist for more than a decade, she is recognized for her compelling artistry, beautiful sound, and interpretive talents.

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Product details

Paperback: 240 pages

Publisher: Penguin Books; Reprint edition (September 27, 2005)

Language: English

ISBN-10: 0143035940

ISBN-13: 978-0143035947

Product Dimensions:

5.3 x 0.5 x 8 inches

Shipping Weight: 7.2 ounces (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

91 customer reviews

Amazon Best Sellers Rank:

#186,009 in Books (See Top 100 in Books)

Fleming's "......Making of a singer" should, and probably will be required reading for students in every music department, school and conservatory everywhere. It is a masterclass for any musician, not just singers' , and a life lesson for anyone else. For fans of Fleming the soprano there are many insights into the woman, not just the diva. Readers will find themselves wanting to take notes. If the intricate details of vocal production are beyond some readers' understanding, they serve as vivid reminders that no great vocal artist simply takes a breath and lets loose a glorious torrent of magical sound. Fleming's writing introduces fans to the "Working Mother" who takes audiences on her magic carpet on stage and jots down her grocery list in her dressing room. Brava Fleming !

As a lyric soprano and aspiring opera singer myself, I have continually found this book inspiring and encouraging. Ms. Fleming candidly looks at the world of an opera singer from many angles. She relates how she came to music, from her childhood as a daughter of musical parents, and charts how hard she had to work to get to the rarified world of the opera star she is today. She does not gloss over the work involved or the insecurities and problems she has faced. Her written voice is real and she gives great snippets of advice throughout the book. I find myself repeatedly going back to this book to learn, to laugh, and to be inspired to work hard to try and achieve my dreams. Thank you, Ms. Fleming for this wonderful helpful book.

Really good book with great views to how one should start taking the work serious. I'm just starting out and I never knew about the stuff she talks about in here, so it's really good to have these little clues, like applying for winter and summer programs, actually getting work and the struggle of trying to maintain a family while doing this kind of work, how important it is to have mentors, and the rest. Really good and motivating book. Not necessarily inspirational but the way she thinks makes me realize all I have to do is work and the rest will take care of itself.

Renée Fleming is generally acclaimed as the reigning operatic soprano of the day, enjoying a worldwide stature comparable to that afforded only a few divas of the past: e.g., Joan Sutherland, Maria Callas, Beverly Sills, et al. Renée Fleming's "The Inner Voice: The Making of a Singer", is a compelling autobiography that recounts Ms. Fleming's remarkable career as a "three-prong singer" who not only sings opera, but also sings recitals with piano and concerts with orchestras. Without glorifying herself, Ms. Fleming describes how she has achieved success via hard work, tenacity, resilience and luck. As Ms. Fleming states (of her memoir), "What I came up with in the end was not the story of my life, but the autobiography of my voice". Notwithstanding her enormous talent, extraordinary vocal abilities, stature as a world-class musician and opera star (and the associated rewards), Ms. Fleming candidly reveals her ongoing struggles to master her craft, and to combat various obstacles/challenges/failures encountered along the way: e.g., stage fright, rejection, panic attacks, isolation/loneliness, self-doubt, et al. Interestingly, this book is almost devoid of operatic gossip (i.e., the really `juicy stuff'); instead, it might be better described as a `How-To', and `Lessons Learned' manual that aims to mentor/instruct young aspiring operatic singers and help them to deal with challenges, and avoid some of the pitfalls encountered in the difficult and highly competitive world of opera.Ms. Fleming (today a divorced mother of two girls, Amelia and Sage) introduces the reader to her early family life, growing up in a suburb of Rochester, New York, with her parents, Edwin and Patricia, her younger sister, Rachelle, and her brother, Ted. Both of her parents were music teachers who enjoyed singing in the home. Music was an integral part of her public school education; educators understood, intuitively, that the discipline and joy of music fostered creativity in children, and provided a deepening and broadening experience in their lives.Although Ms. Fleming was accepted to Oberlin College (a top-flight conservatory), she was unable to attend due to insufficient financial aid. Instead, she ended up attending the Crane School of Music of the State University of New York, Potsdam. Ms. Fleming points out that this `disappointment' turned out to be the first great break of her career. At the Crane School of Music Ms. Fleming was taught by Patricia Misslin, a `no-nonsense' teacher who provided her with strict vocal training, putting a great deal of emphasis on resonance, focus, and `placing the voice'. Ms. Misslin taught her that a singer has different options for `placing the voice' (i.e., directing air combinations to different parts of the body, and thereby creating different sounds), including: (a) Head - This creates a light child-like sound; (b) Mouth - This creates a different sound; (c) Mask (nose and cheekbones) - This creates a nasal sound; (d) Chest - This creates a very low sound, like Sarah Vaughn. Ms. Misslin taught Ms. Fleming that an opera singer must typically maintain an enormous amount of focus in `the mask' so as to be able to project the voice to the back of the hall without strain. Ms. Misslin taught Ms. Fleming how to practice, and had a great influence on her regarding her repertoire. While at Potsdam, in addition to classical music, Ms. Fleming fell in love with jazz. While still a sophomore she auditioned for, and landed, a job as a big band singer. Singing with the band taught her how to let go of her fears, experiment vocally, and perform.After graduating from Potsdam, Ms. Fleming moved on to Eastman to study for a master's degree in music. At Eastman she had the opportunity to perform in many operatic roles. Ms. Fleming states, "And while I had some successes at Eastman, I had my share of dismal failures as well."---she failed her Met audition. But, fortunately, her parents had instilled in her the code of "Never Give Up." Ms. Fleming discusses her postgraduate apprenticeship at Julliard in a program called the American Opera Center, and a follow-up Fullbright grant in Germany where she learned to speak German fluently.Ms. Fleming pays homage to her mentors (e.g., Renata Scotto, Joan Sutherland, Marilyn Horne, Leontyne Price). She shares her experiences after attaining success, her major challenges (e.g., scheduling travelling, work/life balance, traveling with and raising two daughters, etc.), the business aspects of her career (e.g., bookings, interviews, cancellation policies, etc.), and ways to achieve longevity as an opera singer. Ms. Fleming emphasizes the importance of taking charge of one's image on stage, and shares her experience during actual performances before live audiences. She discusses how she prepares for new roles, and shares with the reader what typically goes on backstage during the preparation for a performance.I thoroughly enjoyed this wonderful memoir which took me on a remarkable journey through the eyes of an opera star and recitalist. Ms. Fleming's memoir is, indeed, a portrait of the artist at work. It is a moving story that is well-written, fascinating, vigorous, and fresh---I learned a lot. Ms. Fleming humanizes the `diva', debunking (in a lighthearted manner) many of the stereotypes often associated with the term `diva' (e.g., "prima donna"; "selfish"; "high maintenance"; "hugely demanding"; speak in high voices, à la Julia Child, in a "continental" nonaccent; etc.) by those who are unfamiliar with the world of opera. She exhibits a keen awareness of the connection between the past, present, and future---an understanding that the world of opera did not begin with her, nor is it likely to end with her. More specifically, Ms. Fleming states,"...there must be at least one note in my range that belonged to my grandmother, and certainly my mother's soprano and my father's deep love for new music have given much of the color and depth to my sound. Their voices are our inheritance, part of the amalgamation of who we are and what we have learned. We are unique, each human voice, not because we are completely self-generated, but because of how we choose to assemble the countless factors that made us. My voice carries in it the generations before me, generations of my family, of brilliant singers I have admired, of dear friends. It goes on in this book, not the sound of my singing but certainly the work and thought and passion of the discipline. Tiny slivers of my voice will be incorporated into a student I teach in a master class or into the young singer who listens carefully, just as little glimmers of Leontyne Price's shining high C and Dietrich Fischer-Dieskau's expansive breath came into me. If this is the past of my voice, then I must believe it is the future as well. My voice will go forward in the same way, not only through recordings but through my daughters and through their daughters and sons as far as the line will take us. It doesn't mean that everyone will be a singer, but that every one of us will find a passion in life to drive us ahead, and just maybe part of that passion will rest in the voice. People will hear it even in a word that is spoken: the wealth and wonder of all the music that came before."One of the main reasons why this memoir is so effective is that it is focused; Ms. Fleming does not `bite of more than she can chew'. In writing this memoir Ms. Fleming evidently followed the adage that it is better to do a `high quality' job on a focused topic, than to do a `mediocre' job on a topic that is too broad. I would highly recommend this book for aspiring opera singers, opera-buffs and, in general, anyone who has a deep appreciation for the arts.

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The Inner Voice: The Making of a Singer PDF

The Inner Voice: The Making of a Singer PDF

The Inner Voice: The Making of a Singer PDF

The Inner Voice: The Making of a Singer PDF