Third Person

In the winter of 2004, a shy woman named Emma sits in Toby’s office. She wants to share this wonderful new book she’s reading, but Toby, her therapist, is concerned with other things. Emma is transgender, and has sought out Toby for approval for hormone replacement therapy. Emma has shown up at the therapy sessions as an outgoing, confident young woman named Katina, and a depressed, submissive workaholic named Ed. She has little or no memory of her actions when presenting as these other two people. And then Toby asks about her childhood . . . As the story unfolds, we discover clues to Emma’s troubled past and how and why these other two people may have come into existence. As Toby juggles treating three separate people, each with their own unique personalities and memories, he begins to wonder if Emma is merely acting out to get attention, or if she actually has Dissociative Identity Disorder. Is she just a troubled woman in need of help? And is “the third person” in her brain protecting her, or derailing her chances of ever finding peace? The Third Person is a riveting memoir from newcomer Emma Grove. Drawn in thick, emotive lines, with the refined style of a comics vet, Grove has created a singular, gripping depiction of the intersection of identities and trauma. The Third Person is a testament to the importance of having the space to heal and live authentically.

From the author of The Iron Druid Chronicles, a thrilling novel that kicks off a fantasy series with an entirely new mythology—complete with shape-shifting bards, fire-wielding giants, and children who can speak to astonishing beasts “A spectacular work of epic fantasy . . . an absolute delight.”—Shelf Awareness MOTHER AND WARRIOR Tallynd is a soldier who has already survived her toughest battle: losing her husband. But now she finds herself on the front lines of an invasion of giants, intent on wiping out the entire kingdom, including Tallynd’s two sons—all that she has left. The stakes have never been higher. If Tallynd fails, her boys may never become men. SCHOLAR AND SPY Dervan is an historian who longs for a simple, quiet life. But he’s drawn into intrigue when he’s hired to record the tales of a mysterious bard who may be a spy or even an assassin for a rival kingdom. As the bard shares his fantastical stories, Dervan makes a shocking discovery: He may have a connection to the tales, one that will bring his own secrets to light. REBEL AND HERO Abhi’s family have always been hunters, but Abhi wants to choose a different life for himself. Embarking on a journey of self-discovery, Abhi soon learns that his destiny is far greater than he imagined: a powerful new magic thrust upon him may hold the key to defeating the giants once and for all—if it doesn’t destroy him first. Set in a magical world of terror and wonder, this novel is a deeply felt epic of courage and war, in which the fates of these characters intertwine—and where ordinary people become heroes, and their lives become legend. Don’t miss any of Kevin Hearne’s action-packed Seven Kennings series A PLAGUE OF GIANTS • A BLIGHT OF BLACKWINGS • A CURSE OF KRAKENS (Coming Later!)

Everything You need to Write and Sell Your Work This is the ultimate crash course in writing and publishing! Inside you'll find comprehensive instruction, up-to-date market listings, a CD featuring recorded live webinars with industry professionals, an all-access pass to WritersMarket.com, and more. Writer's Digest University is the perfect resource for you, no matter your experience level. This one-stop resource contains: • Quick and comprehensive answers to common questions including: "How do I write a successful novel?" and "How do I know if self-publishing is right for me?" • Instruction and examples for formatting and submitting fiction, nonfiction, articles, children's writing, scripts, and verse. • Advanced instruction on business-related issues like marketing and publicity, using social media, freelancing for corporations, keeping finances in order, and setting the right price for your work. • A detailed look at what agents want and how to get one that best fits your needs. • Market listings for publishers and agents open to unsolicited work and new writers, contests and awards, and conferences and workshops. • A CD with recordings of 4 popular WD webinars: How Do I Get My Book Published?, How to Land a Literary Agent, How Writers Can Succeed in the Future of Digital Publishing, and Freelance Basics.* • A scratch-off code that gives you a one-year subscription to WritersMarket.com and a 20% discount on the WritersDigestUniversity.com course of your choice.* Get started now with everything you need to build a thriving writing career. Whether you're starting from scratch or have a bit of experience, you'll find the tools you need for success. *PLEASE NOTE: CDs and one-year subscription are NOT included with the ebook version of this title.

'Steve Mosby has become one of a handful of writers who make me excited about crime fiction' Val McDermid 'Mosby has become renowned for thrillers that reach into dark places where most British crime writers are afraid to go'Sunday Express 'This isn't some kind of 'Dear John' letter. I'm coming back again'. But Amy Sinclair didn't come back. That note on the kitchen table was the last that her boyfriend, Jason, heard of her. At first, he let her have her space but as the weeks turned to months the worries had set in... and eventually he went after her. What he found appalled him. It seems that Amy had had a secret life on the internet and had met some people she shouldn't have. And one of them took her. Now Jason sits at home and cruises the same horrific websites that she once walked through to find her kidnapper. But when he lays a trap for a monster he meets in a chat-room he gets more than he bargained for. He finds that nothing in this story is as it seems, and that the clues lie in the mistakes of his own past...

This volume answers questions that lead to a clearer picture of third-person self- knowledge, the self-interpretation it embeds, and its narrative structure. Bringing together current research on third-person self-knowledge and self-interpretation, the book focuses on third-person self-knowledge, and the role that narrative and interpretation play in acquiring it. It regards the third-personal epistemic approach to oneself as a problem worthy of investigation in its own right, and makes clear the relation between third-person self-knowledge, self-interpretation, and narrative capacities. In recent years, the idea that each person is in a privileged position to acquire knowledge about her own mental states has come under attack. A growing body of empirical research has cast doubt upon the existence of what philosophers call ‘first person self-knowledge’, i.e., knowledge about our mental states that is often thought to be immediate, transparent, and authoritative. This line of thought has led some philosophers to claim that what seems to be ‘first-person self-knowledge’ is really just ‘third-person self-knowledge,’ i.e., knowledge about our mental states that is inferential, opaque, and fallible. This book discusses challenges for first-person knowledge and explores the true nature of third-person knowledge.

Narrative strategies for vast fictional worlds across a variety of media, from World of Warcraft to The Wire. The ever-expanding capacities of computing offer new narrative possibilities for virtual worlds. Yet vast narratives—featuring an ongoing and intricately developed storyline, many characters, and multiple settings—did not originate with, and are not limited to, Massively Multiplayer Online Games. Thomas Mann's Joseph and His Brothers, J. R. R. Tolkien's Lord of the Rings, Marvel's Spiderman, and the complex stories of such television shows as Dr. Who, The Sopranos, and Lost all present vast fictional worlds. Third Person explores strategies of vast narrative across a variety of media, including video games, television, literature, comic books, tabletop games, and digital art. The contributors—media and television scholars, novelists, comic creators, game designers, and others—investigate such issues as continuity, canonicity, interactivity, fan fiction, technological innovation, and cross-media phenomena. Chapters examine a range of topics, including storytelling in a multiplayer environment; narrative techniques for a 3,000,000-page novel; continuity (or the impossibility of it) in Doctor Who; managing multiple intertwined narratives in superhero comics; the spatial experience of the Final Fantasy role-playing games; World of Warcraft adventure texts created by designers and fans; and the serial storytelling of The Wire. Taken together, the multidisciplinary conversations in Third Person, along with Harrigan and Wardrip-Fruin's earlier collections First Person and Second Person, offer essential insights into how fictions are constructed and maintained in very different forms of media at the beginning of the twenty-first century.

This volume, a case study on the grammar of third person references in two genres of spoken Ecuadorian Spanish, examines from a discourse-analytic perspective how genre affects linguistic patterns and how researchers can look for and interpret genre effects. This marks a timely contribution to corpus linguistics, as many linguists are choosing to work with empirical data. Corpus based approaches have many advantages and are useful in the comparison of different languages as well as varieties of the same language, but what is often overlooked in such comparisons is the genre of language under examination. As this case study shows, genre is an important factor in interpreting patterns and distributions of forms. The book also contributes toward theories of anaphora, referentiality and Preferred Argument Structure. It is relevant for scholars who work with referentiality, genre differences, third person references, and interactional linguistics, as well as those interested in Spanish morphosyntax.