Includes practical advise on how to search for jobs, write a resume, land an interview, and more in the fields of advertising and public relations.

Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.

A devious tale of psychological suspense perfect for fans of Paula Hawkins’ The Girl on the Train—and is soon to be a major movie directed by Agnieszka Holland. In a tantalizing set-up reminiscent of Patricia Highsmith’s classic Strangers on a Train… On a night flight from London to Boston, Ted Severson meets the stunning and mysterious Lily Kintner. Sharing one too many martinis, the strangers begin to play a game of truth, revealing very intimate details about themselves. Ted talks about his marriage that’s going stale and his wife Miranda, who he’s sure is cheating on him. Ted and his wife were a mismatch from the start—he the rich businessman, she the artistic free spirit—a contrast that once inflamed their passion, but has now become a cliché. But their game turns a little darker when Ted jokes that he could kill Miranda for what she’s done. Lily, without missing a beat, says calmly, “I’d like to help.” After all, some people are the kind worth killing, like a lying, stinking, cheating spouse. . . . Back in Boston, Ted and Lily’s twisted bond grows stronger as they begin to plot Miranda's demise. But there are a few things about Lily’s past that she hasn’t shared with Ted, namely her experience in the art and craft of murder, a journey that began in her very precocious youth. Suddenly these co-conspirators are embroiled in a chilling game of cat-and-mouse, one they both cannot survive . . . with a shrewd and very determined detective on their tail.

From beloved author Lois Duncan comes a frightening novel about a group of students who set out to teach their malicious teacher a lesson -- only to learn that one of them could be a killer. Mr. Griffin is the strictest teacher at Del Norte High, with a penchant for endless projects and humiliating students. Even straight-A student Susan can't believe how mean he is to her crush, Dave, and to the charismatic Mark Kinney. So when Dave asks Susan to help a group of students teach Mr. Griffin a lesson of their own, she goes along with them. After all, it's a harmless prank, right? But things don't go according to plan. When one "accident" leads to another and people begin to die, Susan and her friends must face the awful truth: one of them is a killer.

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the “pedigree of the real” and the “pornography of the real,” they fail to activate their viewers’ engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an “us-watching-them” mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a “postrealist” cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films.

A New York Times bestseller | Soon to be a major motion picture “Witty, endearing and greatly entertaining.” —Wall Street Journal “Don’t trust anyone, including the four septuagenarian sleuths in Osman’s own laugh-out-loud whodunit.” —Parade Four septuagenarians with a few tricks up their sleeves A female cop with her first big case A brutal murder Welcome to... THE THURSDAY MURDER CLUB In a peaceful retirement village, four unlikely friends meet weekly in the Jigsaw Room to discuss unsolved crimes; together they call themselves the Thursday Murder Club. When a local developer is found dead with a mysterious photograph left next to the body, the Thursday Murder Club suddenly find themselves in the middle of their first live case. As the bodies begin to pile up, can our unorthodox but brilliant gang catch the killer, before it's too late?

A stunning debut novel with an intriguing literary hook: written in part as a letter from a victim to her abductor. Sensitive, sharp, captivating!Gemma, 16, is on layover at Bangkok Airport, en route with her parents to a vacation in Vietnam. She steps away for just a second, to get a cup of coffee. Ty--rugged, tan, too old, oddly familiar--pays for Gemma's drink. And drugs it. They talk. Their hands touch. And before Gemma knows what's happening, Ty takes her. Steals her away. The unknowing object of a long obsession, Gemma has been kidnapped by her stalker and brought to the desolate Australian Outback. STOLEN is her gripping story of survival, of how she has to come to terms with her living nightmare--or die trying to fight it.