By Margaret Weis
[/b]The paperback version of the hole name in a brand new trilogy from Dragonlance atmosphere co-creator Margaret Weis takes up the place the warfare of Souls sequence left off with the relevant personality Mina. whereas following her tale, this new trilogy additionally explores the chaos that's post-war Krynn. this is often Weis’s first solo trilogy within the Dragonlance world.
AUTHOR BIO: MARGARET WEIS is the writer of diverse Dragonlance novels, a lot of them co-written with Tracy Hickman or Don Perrin, together with the long island instances best-selling battle of Souls trilogy. She is additionally the writer of The Soulforge and the celebrity of the parent novels and the dressmaker of many Dragonlance roleplaying items, together with the Dragonlance Campaign Setting.
Margaret’s most up-to-date identify is Mistress of Dragons from Tor Books.
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Extra info for Amber and Ashes (Dragonlance: The Dark Disciple, Book 1)
The students usually feel relaxed and yet quite alert. The fantasy tends to generate feeling states that may be seen as either positive or negative but nevertheless appear to be safe. Students have described being both involved in the fantasy while at the same time being a detached observer. This dual awareness permits them to break out of the fantasy at any time. Only a small minority of students deny having any imagery at all and their imaging ability tends to improve with practice. It is not uncommon for the experience to be described as extraordinary.
These would include: 1. After-imagery. This is produced by staring at a well-lit object for a period of time and then shifting the gaze to a blank surface. The resultant after-image is probably due to lingering activity in the retina. This is best illustrated by staring at an CATCHING AN ELUSIVE CONCEPT 31 illuminated light bulb for a few seconds and then looking at a wall or sheet of paper. 2. Eidetic imagery. This is the ability to look at a complex visual scene and then be able to ‘see’ it in the ‘mind’s eye’ and describe it in fine detail, as if the eye were a camera photographing a scene.
Teacher: How were you feeling inside? Student: I felt really warm inside and wanted to go to sleep. 46 SCRIPTED FANTASY IN THE CLASSROOM Teacher: What do you like about being asleep? In this short extract the teacher first demonstrates reflecting back the content of what the student has said and then moves on to encourage the student to make statements of feeling. These techniques help the student say more about the nature of her experience. The questions follow closely what the student has said and avoid the danger of the teacher manipulating the content of the student’s own material.
Amber and Ashes (Dragonlance: The Dark Disciple, Book 1) by Margaret Weis