Talking As Fast As I Can
A NEW YORK TIMES BESTSELLERIn this collection of personal essays, the beloved star of Gilmore Girls and Parenthood reveals stories about life, love, and working as a woman in Hollywood-along with behind-the-scenes dispatches from the set of the new Gilmore Girls, where she plays the fast-talking Lorelai Gilmore once again.In Talking as Fast as I Can, Lauren Graham hits pause for a moment and looks back on her life, sharing laugh-out-loud stories about growing up, starting out as an actress, and, years later, sitting in her trailer on the Parenthood set and asking herself, "Did you, um, make it?" She opens up about the challenges of being single in Hollywood ("Strangers were worried about me; that's how long I was single!"), the time she was asked to audition her butt for a role, and her experience being a judge onProject Runway ("It's like I had a fashion-induced blackout").In "What It Was Like, Part One," Graham sits down for an epic Gilmore Girls marathon and reflects on being cast as the fast-talking Lorelai Gilmore. The essay "What It Was Like, Part Two" reveals how it felt to pick up the role again nine years later, and what doing so has meant to her.Some more things you will learn about Lauren: She once tried to go vegan just to bond with Ellen DeGeneres, she's aware that meeting guys at awards shows has its pitfalls ("If you're meeting someone for the first time after three hours of hair, makeup, and styling, you've already set the bar too high"), and she's a card-carrying REI shopper ("My bungee cords now earn points!").Including photos and excerpts from the diary Graham kept during the filming of the recent Gilmore Girls: A Year in the Life, this book is like a cozy night in, catching up with your best friend, laughing and swapping stories, and-of course-talking as fast as you can.
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There is a hint of Armageddon in the air. According to the Nice and Accurate Prophecies of Agnes Nutter, Witch (recorded, thankfully, in 1655, before she blew up her entire village and all its inhabitants, who had gathered to watch her burn), the world will end on a Saturday. Next Saturday, in fact. So the Armies of Good and Evil are massing, the four Bikers of the Apocalypse are revving up their mighty hogs and hitting the road, and the world's last two remaining witchfinders are getting ready to Fight the Good Fight. Atlantis is rising. Frogs are falling. Tempers are flaring, and everything appears to be going to Divine Plan. Except that a somewhat fussy angel and a fast-living demon are not particularly looking forward to the coming Rapture. They've lived amongst Humanity for millennia, and have grown rather fond of the lifestyle. So if Crowley and Aziraphale are going to stop it from happening, they've got to find and kill the AntiChrist (which is a shame, really, as he's a nice kid). There's just one glitch: someone seems to have misplaced him.
Terry Pratchett and Neil Gaiman's brilliantly dark and funny take on mankind's final judgment is back, in a new hardcover edition which includes an introduction by the authors.
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The Unfinished World
In the weird and wonderful tradition of Kelly Link and Karen Russell, Amber Sparks's dazzling new collection bursts forth with stories that render the apocalyptic and otherworldly hauntingly familiar. In "The Cemetery for Lost Faces," two orphans translate their grief into taxidermy, artfully arresting the passage of time. The anchoring novella, "The Unfinished World," unfurls a surprising love story between a free and adventurous young woman and a dashing filmmaker burdened by a mysterious family. Sparks's stories-populated with sculptors, librarians, astronauts, and warriors-form a veritable cabinet of curiosities. Mythical, bizarre, and deeply moving, The Unfinished World and Other Stories heralds the arrival of a major writer and illuminates the search for a brief encounter with the extraordinary.
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Structure is Character. Characters are what they do. Story events impact the characters and the characters impact events. Actions and reactions create revelation and insight, opening the door to a meaningful emotional experience for the audience. Story is what elevates a film, a novel, a play, or teleplay, transforming a good work into a great one. Movie-making in particular is a collaborative endeavour - requiring great skill and talent by the entire cast, crew and creative team - but the screenwriter is the only original artist on a film. Everyone else - the actors, directors, cameramen, production designers, editors, special effects wizards and so on - are interpretive artists, trying to bring alive the world, the events and the characters that the writer has invented and created. Robert McKee's STORY is a comprehensive and superbly organized exploration of all elements, from the basics to advanced concepts. It is a practical course, presenting new perspectives on the craft of storytelling, not just for the screenwriter but for the novelist, playwright, journalist and non-fiction writers of all types.
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