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The Native Star (Veneficas Americana, Book 1) by M. K. Hobson

By M. K. Hobson

Within the culture of Jonathan unusual & Mr. Norrell, this significant first novel fuses heritage, myth, and romance. arrange to be enchanted by means of M. okay. Hobson's beautiful tackle the Wild, Wild West.

The yr is 1876. within the small Sierra Nevada payment of misplaced Pine, town witch, Emily Edwards, is being run into bankruptcy through an inflow of mail-order patent magics. trying to clear up her challenge with a love spell, Emily simply makes issues worse. yet sooner than she will undo the wear, an enchanted artifact falls into her possession--and unexpectedly Emily needs to flee for her lifestyles, pursued by way of evil warlocks who wish the thing for themselves.

Dreadnought Stanton, a warlock from ny urban whose character is as pompous and abrasive as his identify, has been exiled to misplaced Pine for mysterious purposes. Now he unearths himself involuntarily allied with Emily in a race opposed to time--and around the usa by means of horse, teach, and biomechanical flying machine--in quest of the good Professor Mirabilis, who on my own can free up the key of the coveted artifact. yet alongside the best way, Emily and Stanton can be compelled to take care of the main strong and unpredictable magic of all--the magic of the human middle.

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Extra info for The Native Star (Veneficas Americana, Book 1)

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We looked earlier at the difference between declarative and procedural knowledge. Creative thinking operates tangentially to these. Creative moments are likely to occur once pupils have assimilated enough information to allow them to think in such a way as to make new connections, or develop new insights. As Runco (2003, p320) notes: In Piagetian terms, assimilation is the key to creative thinking. It is there that the individual takes liberties with information. Assimilation involves a level of mastery of the domain, and so knowledge, once assimilated, has the potential to be used in novel ways.

Group constitution Having given some thought as to theoretical positions on group creativity, we now turn to more practical matters and consider how you can establish groups in your lessons and what the make-up of such groups might be. Useful guidance for this is given in the Literacy across the curriculum strand of the KS3/ Secondary Strategy (DfES, 2001). Here groupings are classified according to size and type. Size groupings are as listed below: . . . individual; pair; small group 3–4; large group 6–7; whole class.

Of particular interest was her account of how you can learn to fly without actually being airborne: I used to walk around, rehearsing the checks, the switch positions, the radio calls – running circuits in my bedroom, plotting air defence tactics across a field, circling dogfights on bikes, even flying formation in my sleep. Rehearsal builds muscles in the brain and the brain remembers this much more effectively when flying and operating an aircraft. It is the beginning of an automated sequence where pilots react without thinking – essential for rapid decision-making at life-threatening moments.

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