The Director

A New York Times Bestseller. “If you think cybercrime and potential worldwide banking meltdown is a fiction, read this sensational thriller.”—Bob Woodward, Politico Graham Weber has been the director of the CIA for less than a week when a Swiss kid in a dirty T-shirt walks into the American consulate in Hamburg and says the agency has been hacked, and he has a list of agents' names to prove it. This is the moment a CIA director most dreads. Like the new world of cyber-espionage from which it's drawn, The Director is a maze of double dealing, about a world where everything is written in zeroes and ones—and nothing can be trusted.

NO ONE TAKES WHAT’S MINE. The lovely attorney kept a secret from me. A baby she’s been carrying since Valentine’s night. The night we were thrown together by the roulette wheel. She never contacted me. Meant to keep me in the dark. She’s about to find out what happens when you cross a bratva boss. Punishment is in order. Sequestering until the birth. And I’ll use that time to win her surrender. Because I don’t just plan to keep the baby— I plan to make his mother my bride. And it would be much better for both of us if she were willing. The Director is the explosive first book in the USA Today Bestselling Chicago Bratva series. It’s a stand-alone dark mafia enemies-to-lovers romance, complete with HEA and no cliff-hangers. It contains steamy bedroom scenes and a dangerous and possessive hero who falls hard for the woman he wants to claim for life.

The first book ever written about FBI Director J. Edgar Hoover by a member of his personal staff—his former assistant, Paul Letersky—offers unprecedented, “clear-eyed and compelling” (Mark Olshaker, coauthor of Mindhunter) insight into an American legend. The 1960s and 1970s were arguably among America’s most turbulent post-Civil War decades. While the Vietnam War continued seemingly without end, protests and riots ravaged most cities, the Kennedys and MLK were assassinated, and corruption found its way to the highest levels of politics, culminating in Watergate. In 1965, at the beginning of the chaos, twenty-two-year-old Paul Letersky was assigned to assist the legendary FBI director J. Edgar Hoover who’d just turned seventy and had, by then, led the Bureau for an incredible forty-one years. Hoover was a rare and complex man who walked confidently among the most powerful. His personal privacy was more tightly guarded than the secret “files” he carefully collected—and that were so feared by politicians and celebrities. Through Letersky’s close working relationship with Hoover, and the trust and confidence he gained from Hoover’s most loyal senior assistant, Helen Gandy, Paul became one of the few able to enter the Director’s secretive—and sometimes perilous—world. Since Hoover’s death half a century ago, millions of words have been written about the man and hundreds of hours of TV dramas and A-list Hollywood films produced. But until now, there has been virtually no account from someone who, for a period of years, spent hours with the Director on a daily basis. Balanced, honest, and keenly observed, this “vivid, foibles-and-all portrait of the fabled scourge of gangsters, Klansmen, and communists” (The Wall Street Journal) sheds new light on one of the most powerful law enforcement figures in American history.

A structured perspective on the crucial interface of director and screenplay, this book encompasses twenty-two seminal aspects of the approach to story and script that a director needs to understand before embarking on all other facets of the director’s craft. Drawing on seventeen years of teaching filmmaking at a graduate level and on his prior career as a director and in production at the BBC, Markham shows how the filmmaker can apply rigorous analysis of the elements of dramatic narrative in a screenplay to their creative vision, whether of a short or feature, TV episode or season. Combining examination of such fundamental topics as story, premise, theme, genre, world and setting, tone, structure, and key images with the introduction of less familiar concepts such as cultural, social, and moral canvas, narrative point of view, and the journey of the audience, What’s The Story? The Director Meets Their Screenplay applies the insights of each chapter to a case study—the screenplay of the short film Contrapelo, nominated for the Jury Award at Tribeca in 2014. This book is an essential resource for any aspiring director who wants to understand exactly how to approach a screenplay in order to get the very best from it, and an invaluable resource for any filmmaker who wants to understand the important creative interplay between the director and screenplay in bringing a story to life.

In "You're the Director!" you'll discover guidance from more than a dozen experienced financial aid professionals on topics such as directing a financial aid office, long-term planning, change management, budgeting, finding new resources, working efficiently, assessment and evaluation, positioning yourself on campus, and more. This book is a must-have for new and aspiring financial aid directors, as well as for seasoned financial aid directors who are constantly seeking to improve their leadership skills.