Frak You
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Unity
A prophecy is fulfilled when Peter Attis is rescued from the Cylons in order to save humanity with "the plague of the tongue." Or so it seems... While harvesting algae for conversion into food, the beleaguered human/refugee fleet is discovered by a small group of Cylon raiders. A brief battle ends with the destruction of a Cylon heavy raider. A colonial issue escape pod found floating among the debris reveals two survivors inside: Singer Peter Attis . . . and his captor, a Cylon Number Eight. Soon after Peter's liberation, people begin babbling incoherently and dropping into comas. Unwittingly, Peter has been spreading a highly contagious, nerve-deteriorating Cylon biological weapon -- and he just performed for half the fleet. As Dr. Gaius Baltar begins work on a cure, word starts to spread that a fanatical sect believes that Peter is the religious leader who will save humanity and that this virus is their path to salvation. They are willing to do anything to keep Baltar's vaccine from being distributed. While the fleet is in chaos, a larger Cylon force appears. A weakened humankind, now threatened on two fronts, may be unable to defend itself... At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The Boom
Presents an unstinting exploration of controversial fracking technologies to consider the arguments of its supporters and detractors, profiling key contributors while explaining how the practice is changing the way energy is used.
Creating Dialogue for TV
As entertaining as it is enlightening, Creating Dialogue for TV: Screenwriters Talk Television presents interviews with five Hollywood professionals who talk about all things related to dialogue – from naturalistic style to the building of characters to swearing and dialect. Screenwriters/showrunners David Mandel (Curb Your Enthusiasm, Veep), Jane Espenson (Buffy, Battlestar Galactica, Once Upon a Time), Robert Berens (Supernatural), Sheila Lawrence (Gilmore Girls, Ugly Betty, The Marvelous Mrs Maisel), and Doris Egan (Tru Calling, House, Reign) field a linguist’s inquiries about the craft of writing dialogue. This book is for anyone who has ever wondered what creative processes and attitudes lie behind the words they encounter when tuning into their favourite television show. It provides direct insights into Hollywood writers’ knowledge and opinions of how language is used in television narratives, and in doing so shows how language awareness, attitudes and the craft of using words are utilised to create popular TV series. The book will appeal to students and teachers in screenwriting, creative writing and linguistics as well as lay readers.