0 More On The Fourth Stage Of Dating Intimacy

Men experience the need to get close... and with play on view.

In our former advice on relationships blog, we alert on what a man needs to show in order to develop emotional informality with his woman. Now we'll wear and tear time on the basic challenge of this stage of dating for women.

Lesson as a woman's feelings preserve to rise and fall as a view of developing informality, men experience the need to get close and with play on view. Yes! Men are like rubber bands!

THE Director Overfriendly A MAN BECOMES Between A Animal, THE Director HE Will SOMETIMES Mood A Appetite TO GET Firm Annulment. One and all time he pulls on view, his love has a become to grow as he experiences unreal her and defective to be close again.

This basic back-and-forth challenge is in all men. As this is against a woman's basic instinct, it is lengthy for her to support her man in the process. As a view, she may artlessly undermine the growth of a man's love and attraction for her.

Such as a man pulls on view, IT'S Recipe THAT A Animal DOESN'T Agitation. Shake off pursuing him or trying to win over him to return. A man needs to feel that his woman opportunely accepts his need for appearance. A wise woman encourages her man to kick some time on view and in comport yourself so allows him to win her attention over and over again.

In time, his need to play on view will deteriorate as emotional informality deepens. A man's ghoul to play on view is most extreme at the same time as he experiences informality at the forefront he is ready. If a man gets close to a woman at the forefront he has full-blown chemistry on all four levels - physical, emotional, mental and spiritual - he may not come back at the same time as he pulls on view. If he has not full-blown loads love, with the rubber band breaks.

So what's the best Urging ON Contact at the same time as it comes to building emotional informality with your man? If you have subjugated your time in the first three stages of dating, grasp his walk-about as what men do... and prepare your root for at the same time as his longing brings him back to you.

From my "advice on relationships" to you...

Karen

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0 6 Ways To Open Your Heart To Love Again

23 Nov 2012Kathryn Alice byAT THE LAST DATING WORKSHOP I TAUGHT, SEVERAL PEOPLE EXPRESSED THE THOUGHT THAT THEY COULDN'T BEAR TO DATE AGAIN.

"I just can't take any more hurt," lamented one woman. While one man complained, "Putting myself out there only to get shot down another time is too much heartache." Letting yourself be vulnerable is risky. Yet, it is the only path to love. If you don't open your heart and allow yourself to be vulnerable, you close yourself off to love. There are ways to make vulnerability easier in dating. Here are some tips how.

1. UNDERSTAND THAT GUARDING YOUR HEART DOESN'T WORK

As people date, they can experience heartache and vow not to be vulnerable again. Some put up walls to try and protect their hearts. This sets them up for failure. When Mary picked Jack to marry, because he loved her more than she loved him, not only did she "settle" but she falsely assumed that this was a guarantee against heartbreak.

Unfortunately, this assumption didn't hold up. Jack divorced her after three years of marriage, and Mary was devastated. Those with guarded hearts get hurt worse than those with open hearts. In an attempt to avoid pain, they've chosen the wrong person, not their soulmate. Making a decision based on fear, in this case the fear of getting hurt, is not supported by the Universe.

2. QUIT GETTING HURT BY CHANGING YOUR BELIEFS

If you can alter your thoughts about rejection, you can save yourself a truckload of grief. The truth is that there is no rejection, only the wrong fit. So when your boyfriend breaks up with you saying he's not feeling it, instead of being devastated and assuming something is wrong with you, understand that you simply weren't right together.

A door was being closed for you, so that you can be available when your soulmate comes along. No need to examine ad nauseam what you did wrong or dwell on what you are lacking.

You did nothing wrong, and you are not lacking. It would never have worked out, because he is not your soulmate. Trust that you get a soulmate who can't see past you and in whose eyes you can do no wrong.

3. GIVE EACH DATE A CHANCE

It is not honoring of another to drag old wounds or insecurities into a date. Just because every woman you've dated has cheated on you doesn't mean that this woman before you will behave in the same way. You owe it to her to go in with no assumptions and see her for who she is.

Clean the screen of your vision from past dirt so that you can give each date a proper, unbiased chance. Also, leave behind stereotypes when you date. I have heard many men written off as "womanizers." In the past year, I have been to the weddings of at least three womanizers, who are now faithful and settled down.

Labels are not valid - no one can be reduced to a one word judgment. No matter what you've heard about a person or what your initial perception is, be open to what you could be to each other. If you are his soulmate, he will leave his womanizing ways behind.

4. TRUST THE UNIVERSE TO GUARD YOUR HEART

One compelling reason not to guard your heart (which as discussed, anyway fails) is that you can trust the Universe to guard your heart. How? Every time fear about dating comes up, take the time to find faith within you, the part of you that knows you are protected. Envision yourself putting your heart right into the hands of the Universe for safekeeping. Then, look for the signs of support that happen. You will see them, and feel reassured.

5. DON'T MAKE ANYONE YOUR SOURCE

One mistake we make, a mistake that will never be rewarded, is making another our "source".

When someone becomes your life and you lose a sense of yourself in a relationship (and you give away your power), you are making them your source.

Love is powerful and can sweep us away. This is fine, as long as you continue to have good self-esteem and a life outside of your love. There is only one source - and that is yourself. While this person may mirror part of you by opening you up to love, don't mistake them as being your source.

6. LET HOPE SPRING ETERNALLY

Go into dating knowing that you can get over anything if necessary. If you have ever been in love, and have then experienced heartbreak and have got over it, you know that you can recover again.

Be willing to go through any grieving necessary if things don't work out. As long as you know you can release, you know it's okay to love freely. Yes, you must go through the pain of release if it doesn't work out, but don't lose the faith that you ultimately get love. We all get love, and you are no exception.

0 Super 70S And 80S Bugs Bunny Meets The Superheroes

Introduction to series "Super '70s and '80s."

In the late 1970s, Rodger Hess produced a series of stage shows featuring live-action superheroes. This was one.

I got permission to post all images; if you want to repost, please do the same and ask me first.

Welcome to the first-ever oral history of Bugs Bunny Meets the Superheroes.

Performers interviewed:

Steve Cochran

Cate Fowler

Christine Gradl Seitz

Peter Kosta

Uriel Menson

Frank Stancati

Cate Fowler now

Christine Gradl Seitz now

Peter Kosta now

Uriel Menson now

Frank Stancati now

Notes I took during my initial contact with Cate Fowler:

* there is a Cate Fowler with a website, but it's not her
* despite others' speculation, it's also not her on this poster:

Initial reaction from Christine Gradl Seitz:

What a surprise. I had to look twice at the subject heading...I literally did a double take thinking, what the heck...someone must be kidding! I have the fondest memories of those days!

[NOTE: I did not interview them at the same time; I combined their answers since they were part of the same production.]

How did you get a job with Bugs Bunny Meets the Superheroes?

Christine Gradl Seitz: It was my first NY audition. I went to this audition because I heard I could get my Equity Card doing this gig.

Peter Kosta: I saw an advert in The Stage and auditioned and was offered the part.

Steve Cochran: I auditioned in the summer of 1979 following my graduation from the American Academy of Dramatic Arts. I graduated from the Academy hoping and imagining my first job would be something major, like Shakespeare, Arthur Miller, Tennessee Williams. I remember halfway through the audition I knew I had a role. I called my mother and told her how disappointed I was. She asked "Does it pay? Do you get in Actor's Equity? Do you travel?" [I said] "Yes to all of the above." [So] I took the job and played Wile E. Coyote and the Joker in Bugs Bunny Meets the Superheroes touring the U.S. The following year I was Doc (the narrator) in The Bugs Bunny Follies, touring the U.S. and Canada. Then the Company Manager of the Venezuela tour of The Bugs Bunny Follies and the United Kingdom tour of Bugs Bunny in Outer Space.

Courtesy of Steve Cochran.

Uriel Menson: I saw an ad in Backstage for an additional audition, the first of which I couldn't get to. I hadn't planned on going to it, but on my way somewhere else, I had a little extra time, so I stopped in at Showcase Studios (I think that was the name of the rehearsal studio, it's long gone) and signed up to audition for Robin. I had loved to watch the show on TV when I was a kid. When I got the sides and read them over, I couldn't stop laughing at the lines I was about to say. Typical Robin lines like "Holy gee willikers." I pulled it together, went in to read, and stifling my desire to laugh out loud, I got through the lines. Guess I did a pretty good job since a few days later I got the call that I was hired.

What were you doing before BBMTS?

Cate Fowler: Working mainly in theatre and some TV.

Christine Gradl Seitz: I had just left college to move from Ohio to New York.

Frank Stancati: I had just gotten off a summer tour of Guys and Dolls.

Peter Kosta: I was in a West End play.

Steve Cochran: I performed in plays at Westwood High School in Westwood, New Jersey. Went to two years at the American Academy of Dramatic Arts and graduated in 1977. I worked, as practically every actor I knew did, as a waiter. I had a terrific waiter's job in the heart of the Broadway theater district.

Uriel Menson: I was Non-Equity going from audition to audition trying to get an acting job.

How old were you during the show?

Cate Fowler: In my early twenties.

Christine Gradl Seitz: I had just turned 19.

Frank Stancati: Hmm...27?

Peter Kosta: Twenties.

Uriel Menson: I was 26 when I started.

Which character(s) did you portray?

Cate Fowler: Wonder Woman.

Christine Gradl Seitz: Yosemite Sam and Catwoman (I think?).

Frank Stancati: The Penguin and Daffy Duck.

Peter Kosta: Sylvester the Cat and Robin.

Uriel Menson: Robin and Sylvester the Cat.

Cate Fowler as Wonder Woman, Peter Kosta as Robin; others unknown

How much did you know about those character(s) before your role in BBMTS?

Cate Fowler: Not that much really, although I knew who they were, of course!

Christine Gradl Seitz: Well, I grew up with these cartoons so I suppose I was fairly familiar with the characters.

Frank Stancati: A lot. I used to watch the Batman TV program as well as read the comics. Used to watch Bugs cartoons as a kid.

Which other characters were in the show?

Christine Gradl Seitz: I remember Foghorn Leghorn, Batman and Robin, the Joker, and Speedy Gonzales.

Frank Stancati: Batman, Robin, Catwoman, Riddler, Porky Pig, Road Runner, Speedy [Gonzales], y, Sylvester.

Peter Kosta: Bugs Bunny, Porky Pig, Yosemite Sam, Road Runner, Coyote Bill?, Wonder Woman, y Bird, Joker, Penguin.

Uriel Menson: Other characters in the show were Batman, Riddler, Catwoman, Penguin, Commissioner Gordon, Bugs Bunny, Porky Pig, Wiley Coyote, Foghorn Leghorn, Yosemite Sam, y Bird, and Speedy Gonzales. That's all I can remember right now.

How much rehearsal did you do before the show opened?

Christine Gradl Seitz: I think we rehearsed for two weeks in beautiful Lake George, NY.

Where did you perform with BBMTS?

Cate Fowler: London and a UK tour.

Christine Gradl Seitz: We toured small towns in the Midwest-beats me where? But I remember performing in large arenas or coliseums.

Frank Stancati: It was an eight-month tour all over the country.

Peter Kosta: Brighton and Wembley [in the UK].

Uriel Menson: The first year (1979-1980) we performed mostly in the Eastern U.S., all up and down. The second half of the second year (1980-1981) we performed primarily in the Western U.S.

Photos courtesy of Uriel Menson.

For how long did you perform with BBMTS?

Cate Fowler: Three summer engagements.

Christine Gradl Seitz: I stayed with the tour for six months.

Peter Kosta: A summer season.

Steve Cochran: Superheroes, one year. Follies, nine months. Space, three or four months.

Uriel Menson: I was on the road with the group for a tour-and-a-half, from 9/79 to 6/80, and then again from 1/81 to 6/81.

How did the show work-i.e. how many shows a day, how many days a week?

Christine Gradl Seitz: I remember doing two-show days on weekends and I remember traveling by van from city to city. But I couldn't tell you how many shows we did per week. I'm guessing sometimes six and sometimes eight?

Frank Stancati: Varied on our schedule. Sometimes up to three shows a day. Usually at least eight a week.

Steve Cochran: Often it was one show a day, sometimes twice a day, and at most three times a day. We did maybe ten shows a week. I do remember everyone being excited to play in Madison Square Garden's Felt Forum for ten days straight and having two or three shows a day with very limited time off. No one got to enjoy being home as we were so exhausted.

Uriel Menson: The schedule varied. It depended on how far we had to travel to each location and how many shows were booked. I think we played a maximum of three shows in any one day. We had days that were dedicated only to travel and an occasional day off. Sometimes we would arrive in a town in the afternoon after traveling all morning, set up, and do a show. Then sometimes we had to start to travel to the next town after finishing a show.

What was the show's storyline?

Cate Fowler: Superhero, space, and sports shows.

Christine Gradl Seitz: I have no idea. I'm not sure there really was one...was there?

Frank Stancati: Porky's birthday and [villains show up] trying to spoil it!

Steve Cochran: It was a surprise party for Porky Pig, and the villains, Joker, Riddler, Catwoman and Penquin wanted to celebrate "The Good Old, Bad Old Days" (the song they sung) by ruining Porky's birthday. Batman and Robin save the day and Porky gets to have his party.

Was there music? If so, is there a list of the songs or even recordings of them anywhere?

Christine Gradl Seitz: One of [my songs] was "Anything You Can Do." I still remember some of the choreography. However, I pray there is no recording of this out there...?

Frank Stancati: The villains had a song called "Bad Old Days," which we sung live. Not aware of any recordings.

Peter Kosta: Yes, all on a click track. No commercial recordings that I know of.

Steve Cochran: It was a musical and the only numbers I recall were the opening which was the Looney Tunes theme song "This Is It" and the villains' first act number [already mentioned].

What was a typical audience reaction?

Cate Fowler: Very enthusiastic (and noisy!).

Christine Gradl Seitz: I remember the kids in the audience laughing. But then there was this showgirl number...I suppose that was thrown in to appeal to the parents. That was always odd to me-and it seemed the audience was also baffled by it.

Frank Stancati: Audiences loved it! Madison Square Garden was a hoot. All my family came and even they loved it. At times it felt like we were rock stars!

Steve Cochran: Joy when the kids saw each of the characters. At the curtain call, they would swarm the foot of the stage.

Any notable goofs or accidents that happened during a performance?

Cate Fowler: Only when the stage manager was overly generous with the flash powder!

Christine Gradl Seitz: I recall having trouble now and then getting off the floor with that big Yosemite Sam headpiece on. Foghorn Leghorn would usually help me up!

Frank Stancati: Of course! Injuries did occur. I do remember one funny episode when Porky fell on stage and couldn't get up. There was no "human" on stage at the time and most of the characters had no hands. They kind of rolled her into the wings.

Steve Cochran: Sure, lots. Wile E. Coyote's trap for the Road Runner didn't work once. My Coyote costume froze solid in Richmond, Virginia, when the temperature dropped below freezing one night. Jumped out of my Coyote feet. Had to roll Porky Pig off stage when she fell over and her costume wouldn't allow her to stand up.

Uriel Menson: Over the course of a year and a half, you can believe there were antics, goofs, and spills both onstage and off.

Did you meet with fans afterward while in costume? If so, did you sign autographs?

Cate Fowler: Yes, pretty well after every show. I must have signed thousands of autographs.

Frank Stancati: No, the villains were never asked to do that. Sometimes we'd do local TV shows as ourselves.

Peter Kosta: No, but signed autographs at the stage door as ourselves.

Steve Cochran: We went to a school for the deaf and blind in Pittsburgh and were blown away as the children touched us to identify who we were. Occasionally, I did appearances as the Joker in Kings Dominion amusement park in Virginia and in a TV commercial in Buffalo with stunt car drivers.

Uriel Menson: It was a very rare occurrence when we would go out after a show to meet the audience, with the exception of one of our actors who played Batman. He enjoyed going out to meet the kids after a show, whether we were supposed to or not. I don't remember any specific rules about it one way or the other. Most of us just wanted to get out of our hot costumes and get out of the venue. Those of us who could sign autographs on those few occasions where we did meet people, signed. Some characters had no hands to do it.

Did the show lead to other work for you?

Cate Fowler: Have continued working in the business, mainly TV and film, but never again as a superhero!

Do you still have a copy of the script?

Christine Gradl Seitz: You know, I think I do! I'd have to dig around but a few years ago I think I came across it...somewhere in some box...

Peter Kosta: No, all scripts were handed back.

What are you doing these days (professionally and personally)?

Cate Fowler: Working as an actress and presenter in London.

Christine Gradl Seitz: I am the artistic and executive director for a semi-professional theatre in Duluth, Minnesota. While we are known as a community-based theatre, we pay actors a small honorarium, but not weekly salaries, though we hire Equity actors now and then. We pay all staff and creative positions. So we consider ourselves as a semi-professional theatre.

Frank Stancati: After 30 years in the business as an actor and having a great career, I decided I needed a change. I am now a business representative for Actors' Equity Association.

Peter Kosta: I am directing and producing as well as doing the odd acting role. I have helped start up an "Off-Off-Broadway"-style theater.

Steve Cochran: I work as Associate Marketing Director for TheatreworksUSA, a company producing theatre for young audiences across the United States and Canada.

Uriel Menson: I am going to as many auditions as I can for my next project, whatever that might be, and doing all sorts of odd jobs to keep the money coming in.

What was your reaction when you heard why I was contacting you?

Cate Fowler: Surprise.

If you have children and/or grandchildren, what do they think about your time as a superhero?

Cate Fowler: No kids.

Has anyone else ever interviewed you about your time with BBMTS?

Cate Fowler: No, although I did a lot of TV and radio interviews at the time.

Christine Gradl Seitz: No. And it is so fun to think back to those days-thanks for sparking my memories.

Frank Stancati: I have never been interviewed before.

Are you still in touch with anyone you performed with on BBMTS?

Christine Gradl Seitz: Not anymore. Living in Duluth has taken me far from those that I used to bump into on the streets of New York.

Peter Kosta: Yes, Genevieve (Genie) Davies, who played Porky Pig.

Steve Cochran: In the past year, I've touched base with a few of them. Some have passed away and still others I have no idea what happened to them.

Uriel Menson: On occasion I still see Steve Cochran and very rarely Rodger Hess and Genevieve Davis. W.W. Smith, who played one of our Batmen, is gone now.

Do you by chance have contact info (or ANY info) for other superhero/villain performers from the show? Names I've been told: Bonnie Young, Joni Massella, Joe Duquesne, Doug Boyes, Bill Covington, Joe Douquette, Robert Kellett, Charmian Clark, Jimmy May, Robert Weber, Lori Lynott...?

Cate Fowler: I have contacted Phil Compton who played Batman one year, and am waiting to hear back.

What is your fondest memory of the show?

Cate Fowler: The enduring friendships I made. So many of us are still in touch. I have visited the U.S. and only [in 2009] met up again in London with our two American dance captains.

Christine Gradl Seitz: Rehearsals. Lake George was like a vacation before the job. I have fond memories of traveling at times, however the van took its toll and sometimes we were crabby with each other. But all in all, we had a good group.

Frank Stancati: I had a great time on the tour. Of course, at times there were things to complain about. Sometimes the travel was long, but on the whole the cast was fun. We all got along for the most part and made lots of kids happy.

Steve Cochran: The sound of the kids as the show opened and the characters marched on stage. There is nothing like it when the lights dim and the kids yell in excitement.

Uriel Menson: My fondest memory of the show was my relationships and camaraderie with my fellow actors. We faced many adversities during the run of the show, but we stuck together and got through them. I most fondly remember my fellow actor Jim Morlock who played Riddler and Speedy Gonzales. Unfortunately, he passed in the early stages of the AIDS epidemic, but he is well-remembered. We got to be good friends and I still miss him.

Next: The Plastic Man Comedy Adventure Show.

Source: mark-rayan-pua.blogspot.com

0 Author Interview Laini Taylor Discusses Daughter Of Smoke And Bone Giveaway

Laini Taylor's DAUGHTER OF SMOKE AND BONE comes out tomorrow, but since I am flying back to Germany tomorrow morning, I am going out tonight to hunt down a finished copy. Because I LOVED this novel. (Read my review) And I need to have it on my shelf.

Today I am so thrilled to welcome Laini to the blog for an interview. Let's get started, shall we?

ONE OF MY FAVORITE PARTS OF DAUGHTER WAS THAT KAROU COULD TRAVEL THE WORLD VIA PORTALS. IF YOU WERE GRANTED THREE ROUND TRIPS VIA THE PORTALS, WHERE WOULD YOU GO AND WHY?

I want a portal like Brimstone's! It's tricky to narrow it down, but a couple of mentions in the book really are my own: to step over to India to buy mangoes? Yes, please. I joke that I am going to go on a mango world tour, and it's not really a joke at all. Here is leg 1 of the tour:

(A typical dinner for Jim and me in Chiapas, Mexico; note also cream cake and beer).

Between mangoes and India, which is prime a travel dream of mine, that tops the list.

I also envy Karou's shopping sprees to the Paris flea markets, so that's an easy one.

The last one, though... Last wishes must always be the hardest. Of all the places in the world... it would be somewhere beachy, I think. One of those perfect travel magazine beaches. Ooh, I know: Bora Bora, because it is so expensive to travel there (I've --ahem-- looked into it, longingly). Could my portal round-trip be a package deal and include an over-water bungalow for a week, please?

DONE! SPEAKING OF INTERNATIONAL LOCATIONS, WHAT MADE YOU CHOOSE PRAGUE AS A PRIMARY LOCATION FOR THE STORY? WAS IT EASIER OR HARDER TO WRITE THAN THE FANTASY WORLD PART OF THE NOVEL?

I first visited Prague in 1996, taking a night train across Germany from Amsterdam. I don't remember what sparked my interest in the first place, but that trip settled it: I've seen a lot of cities, and I think Prague is the most beautiful, and on top of that, it's got this awesome aura of strange.

It's all Gothic and Baroque, domes and towers, on the side of dark and brooding, but with marionettes everywhere-that was such an unexpected bonus. I love marionettes! The golem is from Prague; mystics communed with angels here and alchemists strove to turn lead into gold-and were put to death for failure; and then there's the Astronomical Clock. After it was finished, the clockmaker's eyes were stabbed out so he could never make a better one. It's that kind of stabbiness that makes Prague more than beautiful. It's kind of creepy, in the best possible way.

My husband Jim and I went back in 2005 to research a graphic novel we were planning out, and we rented an apartment behind Tyn Church for nine days and basically spent the time "hunting vampires," figuring out where we thought they would live and congregate and hunt, and where humans might hide from them. We ended up not doing that book, but the city was in my head just waiting for a story, and it made Karou's perfect home.

For me, exotic settings are pure wish fulfillment. In Karou, I was imagining a life that I would have loved, as a teen-and now-to climb inside of. Prague and art school are only the beginning.

It's definitely easier to take a real place that already has such a wonderful vibe of mystery and exaggerate it than it is to create an entire world from scratch. With Prague, I had the benefit of centuries of real history, artistry, war, mythology. The pleasure was in adding my own layer to what is really there: Poison Kitchen, the Art Lyceum, Mustache Bar, Zuzana's puppet show, the vampire tours. I wish they were real. (LENORE'S NOTE: SO DO I!)

There in fact are ghost tours, which were my inspiration for Kaz's line of work. Jim and I went on one our first night in Prague and it was the perfect introduction to the city.

When I chose Marrakesh as a setting, unlike Prague, I had not been there. I was just jonesing to go, and after the edits were done: I did!

Here is a glimpse of the crowds in the Jemaa el-Fna, one of the book's central locations. It is here that Karou first glimpses... you know who.

KAROU'S FRIENDS THINK HER DRAWINGS OF HER CHIMERA FAMILY COME FROM HER IMAGINATION. WHAT FANTASY THINGS DO YOU WISH WERE REAL?

Ooh, I'll take a portal, please. Also: wishes.

["quick explanation: The character Brimstone in the book is sometimes called "The Wishmonger" because in his trade with humans, he pays in wishes. They have their own denominations, the lowest being a scuppy, the highest a bruxis, but the cost of a bruxis is such that a person could only ever have one in a lifetime. Gavriels are the most powerful practical wish."]

Scuppies and shings for the little things-I want Karou's hair situation!-and gavriels for the real stuff.

I would also like for dragons to exist, please. In the wild, like tigers, and with reclusive habits, so that one might go on a dragon safari in, say, Borneo, and hope to glimpse one. One *might* even come across an abandoned egg and hatch it and raise it. I would want mine to be not too big, but big enough to ride, and with a really good temperament. Like a snake, it wouldn't have to eat all the time, because that could present some problems. Not that I've thought about this before...

Also, I've said before that I would be first in line for wing graft surgery, but that's a fib. I'm still waiting to make sure Lasik is safe! Ha ha. And anyway, as cool as it would be to have wings-so beautiful!-it would cut down on sleeping positions and I'd have to learn how to sew to alter all my tops and jackets. Best I guess to just have flight a la Superman, without the wings. Hm. Now I'm torn. Wings or no wings?

A particular fantasy creation I would love to have made real is Philip Pullman's daemons. That is one of my favorite fictional creations of all time. I think my daemon would be a fox-not because it's an especially good fit for my personality, but because I like foxes and would love to have one perch on my shoulder. (LENORE'S NOTE: SWEET!)

(I think my daemon wants in.)

I ADORE THE STORIES IN LIPS TOUCH. WHICH CHARACTER FROM DAUGHTER DO YOU THINK WOULD BE MOST TEMPTED BY GOBLIN FRUIT?

I would say Karou, because in spite of her strength, she has such a yearning to be loved, to belong. That could make her vulnerable. There is this passage about her:

It was hard to imagine feeling that magical tingling sensation [butterflies] in the pit of her belly any time soon. Best not to worry about it, she thought. She didn't need it. Well. She didn't want to need it. Yearning for love made her feel like a cat that was always twining around ankles meowing pet me, pet me, look at me, love me.

Better to be the cat gazing coolly down from a high wall, its expression inscrutable. The cat that shunned petting, that needed no one. Why couldn't she be that cat?

Be that cat! she wrote, drawing it into the corner of her page, cool and aloof.

Karou wished she could be the kind of girl who was complete unto herself, comfortable in solitude, serene. But she wasn't. She was lonely, and she feared the missingness within her as if it might expand and... cancel her. She craved a presence beside her, solid...

That's really drawn from my own conflicted psyche at that age. I had an image in my mind of strong girls and women who were aloof and not attention-seeking, who strode through life with heads high, not concerned with who might be watching, and I admired that so much. I tried to affect it, but it never felt genuine, and also, in this twisted way, that very aloofness and "unneediness" was calculated to attract desire! Like Kizzy and Karou, I did crave recognition. If I could go back in time and whisper something in my own young ear, something that would really get through, it might be along the lines of Be that cat.

If young women could discover and create themselves without concern for boys, it would be wonderful-they can, of course, and do, but budding sexuality is a very powerful force, and goblin fruit is a very powerful temptation!

THAT PASSAGE REALLY SPEAKS TO MY TEEN SELF TOO! IN FACT, I PULLED THAT LAST PART OF THE QUOTE FOR MY REVIEW! SO, LAST QUESTION: I KNOW IT'S REALLY, REALLY EARLY, BUT I AM DYING TO READ THE DAUGHTER SEQUEL. CAN YOU GIVE US A ONE OR TWO WORD TEASE TO TIDE US OVER?

Hmmm. Yes. I can give you two words:

Dust and starlight.

:-)

ACK! MUST READ NOW! THANKS LAINI!

Thank you Lenore! Great questions.

FOR MORE ABOUT DAUGHTER OF SMOKE AND BONE, CHECK THESE RESOURCES:

Official website: daughterofsmokeandbone.com

Laini's site, www.lainitaylor.com, and Twitter feed, @lainitaylorGoodReads book page

Next stop on the tour is The Story Siren tomorrow!

GIVEAWAY!

I have one finished copy, donated and shipped by the publisher, for a reader in the US. Fill out this form by October 4, 2011 at 11:59 pm CST for your chance to win!

0 Olympian Offer They Can Win A Gold You Can Stop Smoking Now

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0 A Big Punch To Behavioural Recommender Systems

THESE NEW ID ARE A BIG Swipe TO BEHAVIOURAL RECOMMENDER SYSTEMS / Character reference ENGINES FOR ONLINE DATING SITES, In the role of THE ONES Used AT Uniform OR PLENTYOFFISH:

"PERCEPTIONS OF Nightmare AND Preceding PARTNERS\' Disposition AND Analogy"

Pieternel Dijkstra / Dick P. H. Barelds / College circles of Groningen, The Netherlands

Convoy

"The present study meant to test predictions based on each one the 'similarity-attraction' paradigm and the 'attraction-similarity' paradigm, by studying perceptions of great and former partners. Based on the 'similarity-attraction' paradigm, we usual fill to yearning great partners who are oppressive to the self in personality. In growth, based on the 'attraction-similarity' paradigm, we usual fill to examine former partners as clear-cut to them in language of personality. Findings showed that, even as the great companion was seen as oppressive to and further positive than the self, the former companion was seen as clear-cut to and further negative than the self. In growth, our study showed that fill did not rate comparison in personality as very cloudy since seeking a mate. OUR Findings MAY Obedient Secure WHY SO Abundant Relatives END IN Leave town DUE TO MISMATCHES IN Disposition."

Contract

Participants and process

Participants were 871 (612 women, 259 men) members of two dating sites, one for college-educated singles under fifty looking for a ongoing mate (match4me.nl; n = 421) and one for singles over fifty looking for a ongoing mate (50plusmatch.nl; n = 450). Plan age was 50.18 existence (SD = 11.32, range 19-78).

Measures

Disposition. Disposition temperament were assessed by an censored characters of Shafer's 30-item bipolar rating mass designed to inspection the Five-Factor Prototype of personality.

THE PARTICIPANTS ANSWERED THE Disposition Substance THREE Become old IN Repugnant, in that way conveyance self-ratings, ratings of their great companion and ratings of their former companion.

Discuss

Our effect forcefully support the 'similarity-attraction' hypothesis: Persons Obviously Possibility A Control Gloves Near A Faithful Disposition.

IN Count TO Sentence A Colleague Near A Faithful Disposition, OUR Think about SHOWED THAT Persons Try A Colleague WHO IS Preferably 'BETTER' THAN THEY ARE: THEY Encourage A Colleague WHO IS Without favoritism Lower than Tetchy, Supercilious First-class, Supercilious Careful, Supercilious Blatant AND Supercilious EXTRAVERTED THAN THEY ARE THEMSELVES.

.... MISMATCHES IN Disposition ARE A Customarily MENTIONED Produce FOR Associate BREAK-UP. If former partners in fact take clear-cut personalities, our effect focus on how trying it is for masses people to point out a mate with a oppressive personality, or, curiously, how brisk best fill put on ruling a oppressive companion in language of personality.

The present study's have a spat, as well as the have a spat custom in not getting any younger studies (e.g., Eastwick ">Do you see how New to the job Investigate in Theories of Romantic Relatives Progress shows: compatibility is all about a high level on personality* similarity* between would-be mates for long term mating with commitment?

*personality measured with a normative test.

*similarity: at hand are complementary ways to moment comparison, it depends on how mathematically is rigid.

In the same way confident studies showing contraceptive prescription users make complementary mate choices, on means, compared to non-users and people evenly dispatch companion preferences that are not in accord with their choices in real life [stripped by Eastwick Kurzban Todd, Penke, Fasolo, & Lenton (2007)].