Here S Another Damn Book That No One Will Read

Yes, it's another damn book by political humorist Jason Johnson, who again tickles the funny bone while he punches the kidneys. Read his new collection of damn essays, including, "I Hate Sarah Palin and So Does Jesus," "Rape Isn't Always Funny," "Political Moderates Can Suck It," and the heart-warming "I Like It When Hunters Shoot Each Other," plus many more. It's a damned wild ride for anyone who bothers to read the damn thing.

Hook Your Audience with Unforgettable Storytelling! What do Luke Skywalker, John McClane, and a lonely dog on Ho'okipa Beach have in common? Simply put, we care about them. Great storytelling is making readers care about your characters, the choices they make, and what happens to them. It's making your audience feel the tension and emotion of a situation right alongside your protagonist. And to tell a damn fine story, you need to understand why and how that caring happens. Using a mix of personal stories, pop fiction examples, and traditional storytelling terms, New York Times best-selling author Chuck Wendig will help you internalize the feel of powerful storytelling. In Damn Fine Story, you'll explore: • Fretytag's Pyramid for visualizing story structure--and when to break away from traditional storytelling forms • Character relationships and interactions as the basis of every strong plot—no matter the form or genre • Rising and falling tension that pulls the audience through to the climax and conclusion of the story • Developing themes as a way to craft characters with depth Whether you're writing a novel, screenplay, video game, comic, or even if you just like to tell stories to your friends and family over dinner, this funny and informative guide is chock-full of examples about the art and craft of storytelling--and how to write a damn fine story of your own.

Tweedmore & Slyde is a hot Silicon Valley law firm whose chief rainmaker has been found stabbed to death in his corner office. It falls to young associate Howard Rickover to conduct a risky "inside job" for homicide detective Sarah Nelson. Can he flush out a wily murderer -and still keep up with an associate's impossible workload?

If I Were In A Cage I’d Reach Out For You is a collection that travels through both time and place, liminally occupying the chasm between Canadiana and Americana mythologies. These poems dwell in surreal pockets of the everyday warped landscapes of modern cities and flood into the murky basin of the intimate. Amidst the comings and goings, there’s a sincere desire to connect to others, an essential need to reach out, to redraft the narratives that make kinship radical and near. These poems are love letters to the uncomfortable, the unfathomable, and the altered geographies that define our own misshapen understandings of the world. "With a depth of feeling for places and their connecting joys and aches, these are beautifully written poems, vivid as the morning paper, bracing as moonshine." —David McGimpsey, author of Sitcom and Asbestos Heights

"M_____ is a film extra with a meagre list of credits to their name and a side career writing obituaries for the Los Angeles Times. M_____ is also dying of cancer at only thirty-two. With the stark reality of death looming overhead, and against the even greater threat of being forgotten, M_____ starts down a strange, fantastic and ultimately tragic path recounting a doomed love affair with the world's greatest living "redshirt"--a man who, over a career spanning two decades, has died or appeared dead in nearly eight hundred film and television roles. A compelling narrative interspersed with blog fragments and film scripts, The Death Scene Artist is a three-act surrealist exploration of the obsessive fault-finding of body dysmorphia, the internal conflict of gender dysphoria and the dangerous desires of a man who has lived several hundred half-minute lives without having ever experienced his own."--

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?

There's a mantra that real writers know but wannabe writers don’t. And the secret phrase is this: NOBODY WANTS TO READ YOUR SH*T. Recognizing this painful truth is the first step in the writer's transformation from amateur to professional. From Chapter Four: “When you understand that nobody wants to read your shit, you develop empathy. You acquire the skill that is indispensable to all artists and entrepreneurs—the ability to switch back and forth in your imagination from your own point of view as writer/painter/seller to the point of view of your reader/gallery-goer/customer. You learn to ask yourself with ev­ery sentence and every phrase: Is this interesting? Is it fun or challenging or inventive? Am I giving the reader enough? Is she bored? Is she following where I want to lead her?

“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.