Advanced writing skills can make a piece of content truly excellent. Such tricks of the wordsmith’s trade include specialist structures, ensuring your content is inclusive and appealing to all, elegantly laid out, and efficiently edited.

Discusses issues related to offshore wind farms such as layout of the wind turbines, wind turbine wakes and wake control. The wake behind wind farms is also illustrated. Further, the concept of levelized cost of energy is introduced.

This chapter focuses on the shapes and forms that constitute writing, how it occupies graphic space and how it defines itself in relation to blank space and to other visual elements such as pictures, drawing and symbols. I consider how emphasis and authority are communicated and the ways in which distinctive layouts have become associated with different types of texts. Visual appearance is important when writing is used for decoration and embellishment, and in some cases, it becomes an art form in its own right. The chapter distinguishes between the display principle and the design principle.

Literary adaptions in comics are not a recent phenomenon, but until recently the cultural status of this kind of work has always been very low, and a certain distrust has dominated the debates for many decades, the main reason of this suspicion being the fear that “fidelity” to the adapted model might jeopardize the proper creative possibilities of the adapting medium. More and more recent examples from the graphic novel field, which aims at becoming a literary practice itself, do not only show that literary adaptations can be very valuable, they also demonstrate that it is possible to use the notion of fidelity itself in highly creative ways. Taking its departure from specific case studies, Olivier Deprez’s adaptation of Kafka’s The Castle (2003), Paul Karasik (script) and David Mazzuchelli’s adaptation of Paul Auster’s City of Glass (2005), Simon Grennan’s adaptation of Anthony Trollope’s John Caldigate (2015), and Sébastien Conard’s adaptation of Samuel Beckett’s Watt (2019), this chapter examines the most important techniques that can be used to transfer a novel into a visual narrative in print. It pays particular attention to the visuality of the text as it is transferred from one medium to another (typography, page layout, text as drawing).

Chapter 3 explains the methods of scribes for ruling manuscripts of English literature in the fifteenth century, from a variety of works but especially those of Thomas Hoccleve. It notes that scribes imposed geometric designs onto materials hylomorphically. It then contrasts their failures to achieve regular design. It suggests that ruling patterns seldom had a practical function to articulate the text by means of page design, but that ruling was sometimes a craft process pursued almost habitually by scribes, and at other times was an inherited convention with a force of its own. It concludes that ruling on the material pages was less important to scribes than the immaterial ideas that governed page design. Ruling was ultimately jettisoned.

Chapter 5 examines the annotations by scribes and marginalia by readers in manuscripts of the poems of Geoffrey Chaucer and John Lydgate. A quantitative survey of the treatment of margins shows that, although poets planned elaborate paratexts for their works, scribes and readers seldom used the page for annotation or marginalia. From this survey the author deduces that scribes and readers in the fifteenth century were more interested in reading the poem continuously and for kinds of reading aloud or for pleasure, in ways that do not lend themselves to written record in margins. The poem lives in an immaterial dimension of cognition and feeling, beyond what appears on the material page.

With a sketch of the debate over the finite/non-finite distinction, Chapter 1 introduces the motivation, purpose, research questions, methodology and L10layout of this study. After pointing out the controversy over non-finiteness in linguistics, four research questions are raised: In what way is the finite and non-finite distinction universal? In what context can non-finiteness be positioned and identified? How does non-finiteness function for inter-clausal connectivity? How will the controversial issues of non-finiteness in English and Chinese be dealt with?

A published paper is presented so that the author can see how it will finally appear. Annotations are added to draw attention to many different items, particularly where the publisher will put in information pertaining to its place in the scientific literature. Fonts, sizes, columns and other layout features as well as the sequence of presentation are highlighted.

There are many difficulties in presenting data to the best advantage, using Figures, Tables, images, schemas, etc. Issues such as size, amount of data being included, optimal layout for ease of reading, and other problems are covered. Units, scale bars, statistical indicators, significance and a host of other matters are discussed. The place to present data is considered, i.e. whether some of the slightly less relevant findings or methods should go into 'Supplementary Information'.

Chapter 2 explores the material properties of royal correspondence, focussing on evidence that correlates with the scribal/holograph provenance of the texts. Five features are examined in a corpus of over 100 royal letters issued by the Tudor monarchs: material provenance markers, handwriting, page orientation, signature placement, and signature style. The chapter finds that royal scribal letters have distinctive material features that make their royal source explicit, with these characteristics used very consistently throughout the Tudor period. Holograph royal letters show a reduced propensity to follow these material codes, and instead show a greater individuality more typical of non-royal letter-writing in the period. The differences are proposed to arise from the different production processes of the letter types, affecting the degree of institutionalised power presented to the letter's recipient. Elizabeth's correspondence shows a wider variation in material choices than that of her predecessors, potentially indicative of shifts in how correspondence was utilised, and the values placed on holograph writing by the end of the sixteenth century.