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While we're still pondering why cats paint, this book can explain why they scratch, purr, and shed, as well as the three easiest tricks to teach your cat, the 25 things you didn't know about cat food, and the secrets to picking out the best darn cat in the world. A purr-fectly bewitching cat-alog of unusual and useful information from the authors of our popular dog title. Winner of the Cat Writers Association award for Best Cat Book in its category.

• Sales Rank: #1267528 in Books
• Published on: 1997-10-01
• Released on: 1997-10-01
• Original language: English
• Number of items: 1
• Dimensions: 8.51" h x .56" w x 5.52" l, .68 pounds
• Binding: Paperback
• 238 pages

About the Author
Paulette Cooper is the award-winning author of thirteen books, including 277 SECRETS YOUR DOG WANTS YOU TO KNOW and THE SCANDAL OF SCIENTOLOGY.
Paul Noble, winner of five Emmys, works for Lifetime Television and is the co-author of three books with his wife, Paulette Cooper.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Two Stars
By J. Millie Brewster
Not what I expected...xo

14 of 18 people found the following review helpful.
This book just won BEST CAT BOOK!
By A Customer
This book was just awarded the BEST CAT BOOK award for 1998 in the category of "other books" by the Cat Writers Association. So obviously they thought it was great. Here is what some reviewers have said about this book:
"Spirited look at Fluffy packs a breezy, unassuming charm while veering smoothly between serious and charismatic...should prove a...big hit with feline fanatics. Seattle Times (& Knight Ridder News Service)
An informative, unique book about cats ...In easy-to-read segments guaranteed to enlighten cat owners. Pet Age
"Filled with information about all aspects of cat ownership -from behavior to nutrition to additional resources. "277 Secrets Your Cat Wants You To Know" is a useful guide that provides answers to cat owners' most common questions. Cat Fancy
"Pounce on "277 Secrets...for a whisker-tickling, fact-filed compendium of fascinating feline information....a lot of fun and made for browsing or sharing with another cat lover for a good laugh together. Cats
(refers to this & "277 Secrets Your Dog Wants You To Know" by the same authors) Two Great books for animal owners....filled with funny, practical and unique information you won't find anywhere else. Naples Daily News
"Packed, too, with useful and sometimes merely fascinating information on feline health, behavior, discipline, and feeding." Dallas Morning News.
Full of fun trivial about man's best friends...enjoyable pick-up reading. Dayton Ohio News
(online) This book is fun but loaded with helpful information....This is the book your cat would pick if he let loose in a bookstore. (Dr. Mike Richards, D.V.M., Tiercom.)
(online) The authors...bring readers a purrfectly bewitching "cat-alog" of unusual and useful information about cats. Freddie Street Cats
(online). This fascinating book answers many questions that most of us would never think to ask . . . If you want to consider yourself expert in all things cat, you MUST read this book. Happenings.

12 of 15 people found the following review helpful.
Mediocre
By A. Vegan
Honestly, this really wasn't a very helpful book. All it seemed to be was a bunch of information gathered from a ton of other cat books and compiled into this one. I enjoy reading cat book but I found this one to be a bit annoying because I felt like I had read it already. Save your money and pick it up at the library if you feel the need to read it.

See all 18 customer reviews...

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In a captivating, behind-the-scenes look into the creative process of a fantasy artist, renowned artist Boris Vallejo discusses in depth the techniques of a personal style that has placed him among the leading international fantasy and science fiction artists of today. 91 color images; 32 line drawings.

• Sales Rank: #5970424 in Books
• Published on: 1985-10-01
• Original language: English
• Number of items: 1
• Dimensions: 11.06" h x 8.27" w x .0" l, 1.18 pounds
• Binding: Paperback
• 128 pages

From School Library Journal

YA A lovely browsing collection of color reproductions that will appeal to young fantasy fans because of Vallejo's exciting renditions of unearthly creatures and sexy humans. The moods range from the frightening to the humorous. Vallejo describes various painting techniques in an accompanying text, and he includes some rough sketches to illustrate the development of painting. This book is more of an introduction to fantasy art appreciation than a course in technique. There is no index or list of illustrations.

Copyright 1986 Cahners Business Information, Inc.

Excerpt. © Reprinted by permission. All rights reserved.

The Concept

The elements of a fantasy illustration need make no pretence of imitating life such as they must in, say, an illustration for a gothic, a mystery, or a novel. Fantasy engages the imagination to a much larger extent; the creatures portrayed may come partly or entirely from your head. And yet, to be successful, the scenes from your imagination must be convincing enough for a viewer to be willing to go along with you: to willingly suspend his disbelief and say, "Yes, this could work".

How does someone begin to create these wholly imaginary pictures? The answer to the eternal question "Where do your ideas come from?" seems obvious at first. Naturally, they come from my head. Where else? Ideas come from one's head. It's true, when you set a manuscript to illustrate, you're likely to find descriptions in it. Still, it is up to the artist to interpret them. All those alien beings and landscapes come into being from what is, in fact, known to us. Existing life may be the point of departure, yet all successful fantastical creatures must relate back to it as traceably as vertebrates do to the single-celled amoeba. Muscles are what makes movement possible for the higher forms of living creatures. If you want to paint a combination animal/machine, let's say, there must still be a relation to existing animals and existing machines; the musculature, at least, must be plausible.

The immediate environment is a tremendous source of ideas for me: shadows, shapes, things that, as a result of being near-sighted, I don't exactly see. It's pretty easy for me to reinterpret something twenty feet away which is already fuzzy. With a little push it readily loses its real contours and becomes something else in my eyes. If I start elaborating on what I don't clearly see, I can go in any direction. All I need is an existing starting point; my imagination takes over from there.

This odyssey of the imagination need not be a deliberate or controlled thing. It's much better when it's not directed, when I simply sit quietly and let it happen. In a sense, it's as though my ideas don't come out of me so much as I allow them to move in on me. The most important thing one can do to nourish the imagination is relax. I have noticed that when I specifically try to think of something, really strain towards an idea, very little happens. Whatever does happen is usually stilted and forced. If I relax and open the doors, so to speak, ideas do come.

Often enough, inspiration begins with the model. I see someone and I think: I would like to use this person for a painting; I would like to focus on this or that special feature of this person. From there I can evolve a character, an atmosphere, or an entire concept.

I once saw a young man at the gym I go to. He was an excellent bodybuilder, but the more notable quality about him was that he possessed not only huge muscles -- a really fine development -- but also a very boyish, almost child-like face, which presented a striking contrast with his physique. I stored this impression in the back of my mind, hoping that a job would come along for which I could use him. Then I was given a collection of stories by Isaac Asimov.

My original concept for this book's cover was of a young scientist type sitting on top of the earth in the middle of space. Subsequently I got a call from my client saying that although she liked the sketch, it was not exactly what she had in mind. What did she have in mind? Well, she was rather vague about that, but she preferred something with a more heroic feeling. As we were talking it occurred to me that, instead of emphasizing the human aspect of the stories, I might emphasize the mechanical.

It was then that I decided to do a robot -- not the typical machine-like robot, but a more human one who would, nevertheless, have a superhuman appearance. At once I made the connection between this idea and the young man I had seen in the gym. The fact that his face was so youthful and his body so highly developed led naturally to the idea of keeping the roundness of the muscles and the distinctive shape of the body but making it metallic, chrome, really beautiful and shiny out there in the middle of space. I still thought of having him standing on the earth, but as I worked, the earth changed into a simple globe. It also became shiny, like glass or chrome.

So, you see how the concept changed from the sketch of the robot that I started out with to the finished painting. With the use of that man as the model, the robot became an almost superhuman figure, spinning nebulae out of his bare hands. His face is nearly expressionless. Yet there is a suggestion of childlike wonder and joy at what he is doing: there he is in the middle of space, fascinated with the beautiful things he is creating. In this case, the "model" was just perfect, and the concept owed a great deal of its development to his physical characteristics.

Of course the concept may originate in a more general way than with the model. I may simply think: It would be nice to do something metallic; it would be nice to do something fluffy; it would be nice to do something in which I can concentrate wholly on the figure because the background would be negligible or, vice versa, in which I can concentrate mainly on the background because the figure is inconsequential.

Most often, however, the concept is established by the manuscript to be illustrated or by the movie for which a poster is to be made -- by the product to be sold. In the case of a book there is, first, the manuscript. There is an old saying that one shouldn't judge a book by its cover. But often enough a book is bought precisely because of its cover. Therefore, as an artist, what one must look for in a manuscript is a scene that is representative of the book, perhaps one with plenty of action or one that is, for its colour or subject, quite eye-catching. After all, there are hundreds of books on the bookstore shelves and the successful cover should draw the prospective buyer like a magnet.

Some authors are very descriptive and make the task of selecting a visually effective scene relatively easy. The Lavalite World is a good example. It is a book of adventures and consequently presents any number of action scenes involving the hero, the heroine, and the monster or villain. To show the hero and heroine riding a tree trunk into battle was, to my mind, colourful and unusual enough to evoke any browser's interest in the book.

Some authors are less visual in their writing. They write with less attention to detail and their imagery is more abstract. In such a situation one has to capture a feeling, something representative of the story rather than a particular scene or incident from it. This feeling must then by expressed in visual terms in order to convey an immediate sense of what is going on in the book. My illustrations for Enchantment, which my wife Doris wrote, exemplify this.

The painting for "Web" does not represent a particular scene from the story. It is simply a depiction of the way I experience a spider woman. I began with the question: What typifies a spider? It has eight legs. But I didn't want to paint a totally unappealing woman with eight hairy legs. I wanted a woman who was sensual and sexy-looking, but at the same time menacing, and who would still evoke the feeling of a spider -- perhaps with a spiderweb around her.

The painting that was done for Heavy Metal, however, was not inspired by a manuscript or anything more than the title of the magazine itself: HEAVY METAL. I began with the idea of something metal, a heavy metal. A safe came to mind. The door of a safe which, to me, was quite representative both of "metal" and of "heavy". From there followed the image of a bank vault. Yet this was a fantasy painting that I was going to do. What did fantasy have to do with a bank vault? I decided to put it into space; a heavy metal bank vault floating in outer space. Still, something fantastical had to happen. What if something is inside there, I thought. What would have to be locked behind such a door? Some kind of creature, obviously, that has to be kept from escaping. And what if the creature has been pounding at the door? What if the creature has a metal hand that it has been pounding and pounding the door with and has finally broken through? The first picture that flashed through my mind was of some powerful and monstrous creature. But that would have been a bit too ordinary. So I made it incongruous: a kind of wild-looking woman instead of a creature, not all that physically powerful in appearance but with a crazed look. She not only had the metal hand but the wild eyes and the wild red hair. All these elements brought together in a painting should really make the viewer stop and say: Look at that! What's going on there!

Copyright © Collins & Brown Ltd 1985
Text and illustrations copyright © Boris Vallejo 1985

Most helpful customer reviews

1 of 1 people found the following review helpful.
An excellent supplement to their Fantasy Workshop book
By Alaskaguy
I've been entralled by Boris and Julie's book covers for many years. Fixated by their figures, fantasy creatures, and supernatural landscapes, I couldn't even imagine painting figures in such detail myself. I really like this book, but will also admit that it left me a bit disappointed at first, not by what it included - but by what it lacked. Its strengths are summed up in Boris's sage advice that "the beginning artist should draw only what he sees" and its thorough demonstration of using models, reference photos, and sketching. By itself, that's well worth the price of this book - especially coming from a fantasy artist! Several step-by-step demos and many finished paintings add considerably to this, but still left me (then a wannabe artist) wanting to know more. What a surprize to find their other book Fantasy Workshop: A Practical Guide! Taken as a pair, these two books by Boris and Julie reveal a considerable amount of advice and details about techniques, style, composition, inspiration, and more for painters of all levels. In fact, they inspired me to take the plunge and try my hand at realistic portrait and figure painting. By following their methods and demos, I've been been pleasantly surprized with the results. I've since acquired more experience, as well as a substantial library of books by other authors (read my other reviews), but I find myself returning to this and others by Boris and Julie, for reference, techniques, and inspiration.

0 of 0 people found the following review helpful.
Boris at his best (imo)
By Amazon Customer
used to have this book back in the 80's.
was glad i found it again.
the artwork is fantastic.
you get some pencil work in the beginning and then the full color oil paintings.
love it.

0 of 0 people found the following review helpful.
Five Stars
By Sean
great

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Take a little Horror home with you!

Twelve-year-olds Andy and Marnie had an awesome week in HorrorLand-despite their freaky encounter with Murder the Clown and the zombie mob. Then they think they've won big when they get a FREE souvenir from HorrorLand's Chiller House-and they're not so worried that the shopkeeper said they'd have to "pay later." Or that the hound's tooth is rumored to be haunted. It's totally worth the risk to have a tooth that grants wishes. But when Andy hears howling at night and Marnie starts acting strange, they begin to rethink the gift from HorrorLand.

• Sales Rank: #424668 in Books
• Brand: Scholastic Paperbacks
• Published on: 2010-01-01
• Original language: English
• Number of items: 1
• Dimensions: 7.60" h x .41" w x 5.18" l, .26 pounds
• Binding: Mass Market Paperback
• 160 pages

Features

• Great product!

About the Author
R.L. Stine's books have sold more than 300 million copies, making him one of the most popular children's authors in history. Besides Goosebumps, R.L. Stine has written series including: Fear Street, Rotten School, Mostly Ghostly, The Nightmare Room, and Dangerous Girls. R.L. Stine lives in New York with his wife, Jane, and his King Charles spaniel, Minnie. www.RLStine.com.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Clever
By Coffee Addicted Writer (Billy)
Just when you thought it was safe to read a book, "Goosebumps Horrorland" is back in the first of seven new stories. While in Horrorland, Andy and his cousin Marnie stumble into the Chiller's House store. The owner, Jonathan Chiller, gives him a free gift - a haunted tooth. The tooth will give you unlimited wishes, like a genie. After making a few wishes, Andy starts hearing a strange howling at night. To makes things worse, Marnie starts acting weird.

I was surprised when I heard that R.L. Stine would continue the series. "When The Ghost Howls" is a clever read. I especially like the ending, which ends in a cliffhanger. I can't wait for the next book.

0 of 0 people found the following review helpful.
A favorite of my granddaughter.
By miller
My granddaughter loves this book. It inspired her to write her own book at age 9 and have it published: The Evils of Peanuts, with SuperDog as the hero.

0 of 0 people found the following review helpful.
Stine phoned this one in
By Adan Ramie
This wasn’t one of my favorites from the newer line of Goosebumps books, but I can see where it fits into the HorrorLand puzzle. I found the main character to be a little dim, and his counterpart, the deceitful, spoiled cousin he spends his time with despite her bad attitude, extremely unlikable. I think it’s possible that Stine phoned this one in.

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Screenplay and Narrative Theory draws attention to the notion that in order to comprehend complex narrative dynamics, which are encountered in a great variety of narrative genres, forms, and formats, a more comprehensive theory of narrative is required. George Varotsis explains how a work of narrative functions synergistically and systemically, as well as elucidates the heuristic problem-solving mechanisms that are employed in various structural levels of thought processes, which allow the coherent accumulative derivative we call a story to emerge. The transition from an empirical to theoretical perspective is achieved by introducing characteristics of complex narrative systems: a network of narrative components, i.e. characters, structure, goals, motivations, theme, plot and subplots, narrative action, etc., which are arranged hierarchically over three fundamental levels of structure, i.e. deep, intermediate, and surface structure, that interact parallel to one another in non-linear ways. Varotsis tackles questions about how stories semantically emerge in the underlying dynamics that allow a work of narrative to function as a unified whole.

• Sales Rank: #9519118 in Books
• Published on: 2015-10-01
• Original language: English
• Number of items: 1
• Dimensions: 9.38" h x .66" w x 6.23" l, .80 pounds
• Binding: Hardcover
• 150 pages

Review
Varotsis is himself a screenwriter, and he addresses some of narratology’s traditional questions from that perspective—problem solving through the process of writing and analyzing complex narratives. One of his concerns is moving beyond a 'story grammar' perspective toward a 'plot-algorithm' perspective. Plot algorithms allow the screenwriter, or creators of narrative, to analyze and account for more complex narratives. The volume includes numerous figures, story sequences, and graphs that map out visually—and elucidate—the aspects of narrative or plot algorithms the author describes. Varotsis's focus on character as a key element of narrative study is useful. . . .[T]he author engage[s] productively with the works of a number of important narrative and film theorists, placing the work here in clear dialogue with others. Summing Up: Recommended. Graduate students, researchers, faculty, practitioners. (CHOICE)

Why do some films soar to new creative heights and others spiral vertiginously downward? It’s all in the screenplay, as film practitioner George Varotsis so expertly and exquisitely explains. In this premier and pioneering study, Varotsis deftly weaves through the great thinkers of film and narrative theory—while grabbing insights from cognitive science—to unzip screenplay writing and examine the brains of those masterful homo fabers that take us into new transformative spaces. Take a leap with this one—you’ll take flight! (Frederick Aldama, Ohio State University, author of Mex-Cine and The Cinema of Robert Rodriguez)

About the Author
George Varotsis is screenwriter and was visiting lecturer at the University of Birmingham and the Central Film School London.

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Revolution is an idea that has been one of the most important drivers of human activity since its emergence in its modern form in the 18th century. From the American and French revolutionaries who upset a monarchical order that had dominated for over a millennium up to the Arab Spring, this notion continues but has also developed its meanings. Equated with democracy and legal equality at first and surprisingly redefined into its modern meaning, revolution has become a means to create nations, change the social order, and throw out colonial occupiers, and has been labelled as both conservative and reactionary.

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• Sales Rank: #1776155 in Books
• Published on: 2016-02-11
• Released on: 2016-02-11
• Original language: English
• Number of items: 1
• Dimensions: 8.46" h x .47" w x 5.55" l, .0 pounds
• Binding: Paperback
• 224 pages

Review

“While most studies of revolution attempt to uncover timeless similarities in the causes and development of revolutions, Censer explores the transformations over two and a half centuries of the concept of revolution itself: the dramatic evolution in the justifications, objectives, and strategies proposed by philosophers and practitioners from Thomas Paine and Karl Marx through Frantz Fanon, Che Guevara, and the Ayatollah Khomeini. It is an original and enormously engaging tour d'horizon of the subject in a global perspective, ideally suited for students young and old.” ―Timothy Tackett, Univeristy of California - Irvine, USA

“Censer has written a very readable narrative of revolution as a product of modern historical consciousness. Revolution has created an arc of self-redefinition; even as its meanings are layered, older ones are exchanged for newer ones to reach out to utopian ideals.” ―Prasenjit Duara, National University of Singapore

“Jack Censer's aim is refreshingly bold: to conceptualise the different meanings of revolution in the modern era and to assess the importance of ideologies within them. He defines revolutions as cultural movements that set out to transform the existing order, both political and social, and in this book he adopts a global perspective, tracing the development of revolutionary ideas from America and France in the 1770s and 1790s to Iran and Tunisia today. The result is a wide-ranging and often provocative analysis that shows how the idea of revolution has evolved over the centuries and across continents.” ―Alan Forrest, University of York, UK

“Jack Censer has provided an enviably concise, lucid and thoughtful introduction to this crucially important subject. For anyone interested in understanding the ideas underpinning modern revolutions, and how the phenomenon of revolution itself developed through the modern period, Debating Modern Revolution is the perfect starting point.” ―David Bell, Princeton University, USA

About the Author
Jack R. Censer is Professor of History at George Mason University, USA. His recent publications include On the Trail of the D.C. Sniper: Fear and the Media (2010) and Liberty, Equality, Fraternity: Exploring the French Revolution (2001).

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• Published on: 1656
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• Sales Rank: #5450135 in Books
• Published on: 1994-09
• Original language: English
• Dimensions: 8.50" h x 5.51" w x .0" l, .57 pounds
• Binding: Paperback
• 216 pages

Language Notes
Text: English (translation)

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