SPECIAL EDITION – Meet the Dreamland billionaires! Declan I’m destined to become the next CEO of my family’s media empire. The only problem? My grandfather’s inheritance clause. Fulfilling his dying wish of getting married and having an heir seemed impossible until my assistant volunteered for the job. Our marriage was supposed to be the perfect solution to my biggest problem. But the more we act in love for the public, the more unsure I feel about our contract. Caring about Iris was never part of the deal. Especially not when breaking her heart is inevitable. Iris My plan to marry Declan was simple in theory. Move in together. Throw a wedding. Have a baby. We set rules to prevent any kind of issues. Ones that were never meant to be broken, no matter how much Declan tempts me. But what happens when our fake relationship bleeds into our real one? Falling in love was never an option. At least not for me. Terms and conditions is the second book in a series of interconnected standalones following three billionaire brothers. The first is called The Fine Print.
The Fine Print of Self-Publishing (Fourth Edition) offers a comprehensive guide to the self-publishing world, and is a must-read for any author considering self-publishing his or her book.
Thirty-five million individual investors jumped into the stock market for the first time during the late 1990s without asking questions about the stocks they were buying. When the bubble burst and the large number of accounting scandals began to grow, most investors didn’t know where to turn or whom to trust. Now it has become more important than ever for investors to take matters into their own hands. Financial Fine Print: Uncovering a Company’s True Value lets individual investors in on the secrets that seasoned professional investors use when they evaluate a potential investment. Buried deep in a company’s quarterly (10-Q) and annual (10-K) reports are the real clues to a company’s financial health: the footnotes. At many large companies, these footnotes can run for more than 30 pages and for some corporations have doubled in the past five years, making them simply too important for investors to ignore. Financial Fine Print spells out exactly what investors need to look for within the footnotes of a company’s reports in order to make better, more informed decisions. By using numerous examples of actual footnotes that have appeared in SEC documents, the book teaches investors in easy-to-understand language ways to spot – and avoid – future Enrons and Worldcoms (and Tycos and Adelphias and HealthSouths). For any investor who has spent the past three years watching their investments shrink and has begun to think about getting back into the market, this book provides the critical tools that investors need to know to avoid getting burned once again.
A bestselling author’s shocking analysis of the many ways we are victimized by corporations David Cay Johnston, the bestselling author of Perfectly Legal and Free Lunch, is famous for exposing the perfidies of our biggest institutions. Now he turns his attention to the ways huge corporations hide sneaky stipulations in just about every contract, often with government permission. No other modern country gives corporations the unfettered power found in America to gouge customers, shortchange workers, and erect barriers to fair play. Johnston shares solutions you can use to fight back against the obscure fees and taxes, and to help end these devious practices.
Why the increasing use of boilerplate is eroding our rights Boilerplate—the fine-print terms and conditions that we become subject to when we click "I agree" online, rent an apartment, enter an employment contract, sign up for a cellphone carrier, or buy travel tickets—pervades all aspects of our modern lives. On a daily basis, most of us accept boilerplate provisions without realizing that should a dispute arise about a purchased good or service, the nonnegotiable boilerplate terms can deprive us of our right to jury trial and relieve providers of responsibility for harm. Boilerplate is the first comprehensive treatment of the problems posed by the increasing use of these terms, demonstrating how their use has degraded traditional notions of consent, agreement, and contract, and sacrificed core rights whose loss threatens the democratic order. Margaret Jane Radin examines attempts to justify the use of boilerplate provisions by claiming either that recipients freely consent to them or that economic efficiency demands them, and she finds these justifications wanting. She argues, moreover, that our courts, legislatures, and regulatory agencies have fallen short in their evaluation and oversight of the use of boilerplate clauses. To improve legal evaluation of boilerplate, Radin offers a new analytical framework, one that takes into account the nature of the rights affected, the quality of the recipient's consent, and the extent of the use of these terms. Radin goes on to offer possibilities for new methods of boilerplate evaluation and control, among them the bold suggestion that tort law rather than contract law provides a preferable analysis for some boilerplate schemes. She concludes by discussing positive steps that NGOs, legislators, regulators, courts, and scholars could take to bring about better practices.
How do you deal with a broken heart? Junk food? Excessive drinks? Dubious contracts with ancient gods? When it comes to Lauren Thomas, the queen of bad decisions, the answer is always the worst possible choice. She finds herself in a rare opportunity to have her broken heart patched up by the highest rated god of desire. The problem is, it's a contested title. Join us in this tale of gods and mortals, love lust and death and one woman's bad choice that starts it all with a simple bite on a golden apple.
In the second half of the 20th century, print journalism found its Golden Age. Jack Schwartz was one of the unsung participants, mainly as an editor who polished copy and helped shape coverage at some of America's most important newspapers, among them Newsday and (especially) The New York Times. He doesn't glamorize or sentimentalize but provides an unflinching, inside scoop on the ambitions and foibles of the people who molded the news they saw fit to print. Written with perspicacity and wry humor, recalling high moments and low, Schwartz's personal and professional journey memorably evokes a remarkable era and its cast of colorful characters.
A columnist and author of The Writer's Art now covers the entire scope of the writing experience. Kilpatrick addresses broad issues from the evolution of language to the reasons why everyone should mind grammar. Both an authoritative writer's guide and a pleasure to read.
Drawing on Provost's proven philosophies, Rubie examines every facet of storytelling, from narrative hooks to fulfilling climaxes. Through advice, exercises, and an outstanding array of examples, you'll learn to create gripping narratives powered by strong characters. You'll discover the secrets of sequencing, of weaving subplots into rich stories, of manipulating story pace to increase conflict, tension, and surprise. “Rarely does a writing guide arrive with the authority of HOW TO TELL A STORY.” Publishers Weekly. "HOW TO TELL A STORY is a must for anybody who writes nonfiction or fiction -- television and screenwriters included." - Hugh Wilson, creator of WKRP in Cincinnati, director of The First Wive's Club. "A most useful book that will aid anyone tying to become a writer of fiction. I recommend it highly." - Roderick Thorp, bestselling author of River, Die Hard, and Detective. "Gary Provost was one of the best friends a writer ever had. He knew that all writers face a hard challenge: to take their ideas, aspirations, and vapors of creativity, and make them concrete for the reader. How to do it? Treat writing as a craft, with techniques that can be learned, with tricks that can be taught. In this book, Peter Rubie shows Gary Provost at his best." William Martin, author of Cape Cod and Annapolis. "HOW TO TELL A STORY offers a harvest of time-tested problem-solving techniques that will enrich every writer's art and craft. It's a feast of innovative, clearly stated advice that will nourish a writer's confidence and career. Read it and you will reap its many rewards." - Gerald Gross, author of Editors on Editing: What Writers Need to Know About What Editors Do. "Peter Rubie and Gary Provost have got it right. HOW TO TELL A STORY covers everything a novice writer needs to learn and a professional writer needs to remember. It's earned a permanent place on my desk." - Barbara Shapiro, author of Blind Spot and See No Evil. "In this unique book, the time honored ability of story telling has been dissected, examined carefully and defined in detail for the writer. With a fresh new look at what makes a story exciting and compelling, HOW TO TELL A STORY outlines for the writer all the secrets of dramatic story telling. Every writer should read this book before writing another paragraph." - Keith Wilson, M.D., novelist, and author of Cause of Death: A Writer's Guide to Death, Murder, & Forensic Medicine.
