Is life really worth it? She always wonders if other people come to the same conclusion as her. Probably not. But why does it matter anyway? It isn't like life has grand plans for her. It isn't like she is missing out on anything. She can just continue living in fictional worlds and figure the rest out later. That is if life doesn't catch up to her first. Because just when she is about to give up, a mysterious person appears and reminds her of things she has long forgotten. Her story is one of suffering and hope in a world where all hope seems lost sometimes. It is a story of falling and rising again. It is a story of beauty, of strength, and of never giving up. A story we all need to hear sometimes.
John C. Maxwell, #1 New York Times bestselling author, helps readers take the first steps to living a life that matters inIntentional Living. We all have a longing to be significant. We want to make a contribution, to be a part of something noble and purposeful. But many people wrongly believe significance is unattainable. They worry that it's too big for them to achieve. That they have to have an amazing idea, be a certain age, have a lot of money, or be powerful or famous to make a real difference. The good news is that none of those things is necessary for you to achieve significance and create a lasting legacy. The only thing you need to achieve significance is to be intentional. And to do that, all you need to do is start. You can't make an impact sitting still and doing nothing. Every major accomplishment that's ever been achieved started with a first step. Sometimes it's hard; other times it's easy, but no matter what, you have to do it if you want to get anywhere in life. In Intentional Living, John Maxwell will help you take that first step, and the ones that follow, on your personal path through a life that matters.
In a quiet English town, a college student lives on the margins of life, their world confined by the walls of chronic illnesses, and the whispers of a life they long to live. They seek refuge under the Willow tree, and within the dusty corners of the old college library, where the stories of others become their only escape. But one day, they stumble upon something unexpected, something that feels different from everything they have always known. It's a discovery that connects them to a world they never imagined - a world where they are not as alone as they once believed. This story is filled with sadness and glimpses of hope. Will they surrender to the shadows, or rewrite their story and discover the courage to live on their terms? Join them in this moving tale that proves that even in the face of a lifelong illness, one can find strength, solace, and the will to live.
A young family encountered a terrible misfortune during the travel - their beloved daughter fell sick! The small city of Anapa cannot boast of an abundance of hospitals, so the couple entrusted the health of their child to the only available facility. However, the parents encountered tremendous concerns towards their decision from locals. In the sunny lands of frowning mountains, the lasts are the ones to dictate the rules and beliefs. And only an approach shapes the difference between the two.
Unlike most screenwriting guides that generally analyze several aspects of screenwriting, Constructing Dialogue is devoted to a more analytical treatment of certain individual scenes and how those scenes were constructed to be the most highly dramatic vis á vis their dialogue. In the art of screenwriting, one cannot separate how the scene is constructed from how the dialogue is written. They are completely interwoven. Each chapter deals with how a particular screenwriter approached dialogue relative to that particular scene's construction. From Citizen Kane to The Fisher King the storylines have changed, but the techniques used to construct scene and dialogue have fundamentally remained the same. The author maintains that there are four optimum requirements that each scene needs in order to be successful: maintaining scenic integrity; advancing the storyline, developing character, and eliciting conflict and engaging emotionally. Comparing the original script and viewing the final movie, the student is able to see what exactly was being accomplished to make both the scene and the dialogue work effectively.
Contributions by Jacob Agner, Sarah Gilbreath Ford, Katie Berry Frye, Michael Kreyling, Andrew B. Leiter, Rebecca Mark, Suzanne Marrs, Tom Nolan, Michael Pickard, Harriet Pollack, and Victoria Richard Eudora Welty’s ingenious play with readers’ expectations made her a cunning writer, a paramount modernist, a short story artist of the first rank, and a remarkable literary innovator. In her signature puzzle-texts, she habitually engages with familiar genres and then delights readers with her transformations and nonfulfillment of conventions. Eudora Welty and Mystery: Hidden in Plain Sight reveals how often that play is with mystery, crime, and detective fiction genres, popular fiction forms often condescended to in literary studies, but unabashedly beloved by Welty throughout her lifetime. Put another way, Welty often creates her stories’ secrets by both evoking and displacing crime fiction conventions. Instead of restoring order with a culminating reveal, her story-puzzles characteristically allow mystery to linger and thicken. The mystery pursued becomes mystery elsewhere. The essays in this collection shift attention from narratives, characters, and plots as they have previously been understood by unearthing enigmas hidden within those constructions. Some of these new readings continue Welty’s investigation of hegemonic whiteness and southern narratives of race—outlining these in chalk as outright crime stories. Other essays show how Welty anticipated the regendering of the form now so characteristic of contemporary women mystery writers. Her tender and widely ranging personal correspondence with the hard-boiled American crime writer Ross Macdonald is also discussed. Together these essays make the case that across her career, Eudora Welty was arguably one of the genre’s greatest double agents, and, to apply the titles of Macdonald’s novels to her inventiveness with the form, she is its “underground woman,” its unexpected “sleeping beauty.”
A good story can easily be ruined by bad dialogue. Now in its 4th edition, Rib Davis's bestselling Writing Dialogue for Scripts provides expert insight into how dialogue works, what to look out for in everyday speech and how to use dialogue effectively in scripts. Examining practical examples from film, TV, theatre and radio, this book will help aspiring and professional writers alike perfect their skills. The 4th edition of Writing Dialogue for Scripts includes: a look at recent films, such as American Hustle and Blue Jasmine; TV shows such as Mad Men and Peaky Blinders; and the award winning play, Ruined. Extended material on use of narration within scripts (for example in Peep Show) and dialogue in verbatim scripts (Alecky Blythe's London Road) also features.
This handbook encompasses a range of disciplines that underlie the field of peace education and provides the rationales for the ways it is actually carried out . The discipline is a composite of contributions from a variety of disciplines ranging from social psychology to philosophy and from communication to political science. That is, peace education is an applied subject which is practiced in differing ways, but must always be firmly based on a range of established empirical disciplines. The volume is structured around contributions from expert scholars in various fields that underpin peace education, plus contributions from experts in applying peace education in a range of settings, all complemented by chapters which deal with issues related to research and evaluation of peace education.
This collection of essays maintaining links with theory and practice applies a critical approach to the short story form. Some are theoretical in orientation, covering such issues as gender and marginality, while others offer readings of works by writers such as Alice Munro and John McGahern.
The long-awaited follow-up to the perennially bestselling writers' guide Story, from the most sought-after expert in the art of storytelling. Robert McKee's popular writing workshops have earned him an international reputation. The list of alumni with Oscars runs off the page. The cornerstone of his program is his singular book, Story, which has defined how we talk about the art of story creation. Now, in Dialogue, McKee offers the same in-depth analysis for how characters speak on the screen, on the stage, and on the page in believable and engaging ways. From Macbeth to Breaking Bad, McKee deconstructs key scenes to illustrate the strategies and techniques of dialogue. Dialogue applies a framework of incisive thinking to instruct the prospective writer on how to craft artful, impactful speech. Famous McKee alumni include Peter Jackson, Jane Campion, Geoffrey Rush, Paul Haggis, the writing team for Pixar, and many others.
