Ebook Groundwater Hydrology 3e

Ebook Groundwater Hydrology 3e

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Groundwater Hydrology 3e

Ebook Groundwater Hydrology 3e

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From the Back Cover

A thorough, up-to-date guide to groundwater science and technology Our understanding of the occurrence and movement of water under the Earth’s surface is constantly advancing, with new models, improved drilling equipment, new research, and refined techniques for managing this vital resource. Responding to these tremendous changes, David Todd and new coauthor Larry Mays equip readers with a thorough and up-to-date grounding in the science and technology of groundwater hydrology. Groundwater Hydrology, Third Edition offers a unified presentation of the field, treating fundamental principles, methods, and problems as a whole. With this new edition, you’ll be able to stay current with recent developments in groundwater hydrology, learn modern modeling methods, and apply what you’ve learned to realistic situations. Highlights of the Third Edition New example problems and case studies, as well as problem sets at the end of each chapter. A special focus on modern groundwater modeling methods, including a new chapter on modeling (Chapter 9), which describes the U. S. Geological Survey MODFLOW model. Over 300 new figures and photos. Both SI and U.S. customary units in the example problems. Expanded coverage of groundwater contamination by chemicals. New references at the end of each chapter, which provide sources for research and graduate study. Student and instructor resources for this text are available on the book’s website at www.wiley.com/college/todd.

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About the Author

David Keith Todd and Larry W. Mays are the authors of Groundwater Hydrology, 3rd Edition, published by Wiley.

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Product details

Paperback: 656 pages

Publisher: John Wiley & Sons; 3 edition (August 6, 2004)

Language: English

ISBN-10: 9780471059370

ISBN-13: 978-0471059370

ASIN: 0471059374

Product Dimensions:

8 x 1.5 x 10 inches

Shipping Weight: 2.8 pounds (View shipping rates and policies)

Average Customer Review:

4.6 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#510,467 in Books (See Top 100 in Books)

This is a well-written, comprehensive text. However, the publisher does a disservice to readers and authors. The latter wisely utilize diagrams and pictures to illustrate important concepts; however, many of these are indecipherably rendered by poor-quality gray shading. Specific examples: Fig 1.5.3, Fig 1.5.5,Fig 9.8.2, Fig 13.2.10, etc etc. Also, the lost art of indexing is exemplified in this book; for example, "hydraulic head" (arguably the most important topical term, one used repeatedly throughout the text) is not listed.I appreciate the publishers's attempts to keep costs down, at least, up until the point that fundamental purposes become crossed.

This book is a great reference for me in this moments, actually I was studing a master in science in Civil Engineering and the profesor indicates that is very good book. The format of the topics are very interesting and in according with the silabus of the class, then in effect was a good purchase.

I ordered a used book for school, and got a used book for school. Pretty much sums it up, ya know.

The reviews written in 2000 and 2001 referred to the 2nd edition. The 3rd edition, published in 2004, is now up-to-date.The 3rd edition includes information on modern groundwater modeling methods (including the Modflow model), more coverage of chemical contamination in groundwater, and includes both U.S. and SI units in the examples.

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Groundwater Hydrology 3e PDF

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Free Download Dialogue: The Art of Verbal Action for Page, Stage, and Screen

Free Download Dialogue: The Art of Verbal Action for Page, Stage, and Screen

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Dialogue: The Art of Verbal Action for Page, Stage, and Screen

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Audible Audiobook

Listening Length: 11 hours and 10 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Hachette Audio

Audible.com Release Date: July 12, 2016

Language: English, English

ASIN: B01G7CMEXU

Amazon Best Sellers Rank:

I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager

Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.

I feel awkward reviewing Robert McKee. It's like saying, "Yeah, that Einstein guy... he's really smart, I guess." If you write anything where anyone talks or thinks words, you need this book. It's a tough read - lots of technical language. Just think of it like you're taking a writing course and this is your textbook. Please invest in this book. I'm a fledgling writer, and I'm so thankful I found this. It has saved me from so many rookie mistakes.

Excellent supplement to 'Story' - with examples of speech from popular stories that really drive home the content. It shows how to immerse dialogue into your scene(s) to give the words more meaning, and in a tension-raising-cycle, turn and give the scene itself more impact. I enjoy writing dialogue more with this better perspective of what to look for, and what questions to ask before giving my characters words. This is a book that will get multiple re-reads for reference and increase in understanding as I look to improve my craft and skill-set. Thanks Robert and company!

Unlike a lot of how-to books now being hustled, Mckee isn't trying to sell you instant success. He's pointing out how great dialogue gets written. His method is Aristotelean: he names the parts and uses great works of literature as examples. Prodigiously well read in fiction, drama and film script, he shows you what's beneath the line, how to reveal only what's necessary to move the story, and how to gracefully layer in exposition through dialogue. He elucidates what is speakable for actors, and how to avoid traps and cliches. A most necessary book for writers who work with dialogue.

The art of dialogue. How does a writer get it just right to be effective, yet original, dramatic but not too dramatic, captivating and satisfying, and most important of all convincing? The thrust of this book is how McKee spends time on characterizations and the art of the subtext—vital to thrilling and effective dialogue. McKee explains how subtext works, the thinking behind it, shows you its most effective moments, why it works well or poorly, and gives you the tools to make it work. The result: amazingly clear insight. No kidding, if you want to fully understand subtext in dialogue and sharpen your skills, this is the writing book to get.Conflict in dialogue, turning points, even sentence designs techniques. McKee describes the “suspense sentence” and the “periodic sentence.” Because prose is a natural medium for storytelling, you will learn how Charles Dickens used ‘counter pointing exposition’ and its effectiveness for the reader. I hadn’t seen this kind of hook in writing before, hadn’t heard this term before. Very powerful technique; of course none of us writes like Dickens, but what an example on how to swoop the reader in.What’s one of the takeaways in Dialogue by Robert McKee? “Quality storytelling inspires quality dialogue.” Which inspires a read of McKee’s other remarkable craft book “Story”—a great companion read as both books belong on any serious writer’s bookshelf.

Dialogue: The Art of Verbal Action for Page, Stage, and Screen PDF
Dialogue: The Art of Verbal Action for Page, Stage, and Screen EPub
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Dialogue: The Art of Verbal Action for Page, Stage, and Screen iBooks
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Dialogue: The Art of Verbal Action for Page, Stage, and Screen Mobipocket
Dialogue: The Art of Verbal Action for Page, Stage, and Screen Kindle

Dialogue: The Art of Verbal Action for Page, Stage, and Screen PDF

Dialogue: The Art of Verbal Action for Page, Stage, and Screen PDF

Dialogue: The Art of Verbal Action for Page, Stage, and Screen PDF

Dialogue: The Art of Verbal Action for Page, Stage, and Screen PDF

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