Darcy Scott, 50-something, and trying to maintain her high standard of network television journalism, finds herself being forced to fight the natural aging process for women by the "good ol' boys' club," as she investigates her old college classmates, Congressman Elliott Lodge and Dr. Raymond Miller. Congressman Lodge is campaigning for the Vice Presidency of the United States. He has convinced himself, by spinning the facts to suit his own reality, that he can purify this nation through gene control. Dr. Miller assist by using uneducated, poor, Mexican girls as surrogate mothers; inseminating them with sperm and eggs from Aryan looking college students, and then selling their babies to upper class "White America." Simply put, using young, illegal, Mexican women's wombs as baby factories. This procedure fulfills Dr. Miller's desire for money, and the beginning of Congressman Lodge's dream for a superior America through better breeding, (Adolf Hitler's delusional fantasy). After receiving a suspicious letter from a young Mexican girl, accusing Dr. Miller of impregnating her, and other young, female illegals, Darcy approaches her network boss. He dismisses the letter and refuses to authorize an investigation. Darcy, finding the letter so disturbing, takes it upon herself to assign her female Hispanic associate producer to inquire into Dr. Miller's Texas border town clinic. Darcy's assistant is then found dead near the Texas/Mexican border--only a few miles from Dr. Miller's clinic. Darcy becomes convinced that her friend, and protege, was killed by her ex-college school mates to cover up their insidious plan for power and money. But, how does she prove it? Darcy solicits her old college love, John Lang, (former friend of Lodge and Miller, and recently fired NBA coach), to help her investigate. Darcy and John banter back `n forth as if they were Nick and Nora Charles from the "Thin Man." Consequently, along the way they both find the lost love they once had for one another, in addition to appreciating reaching middle age. However, how does an aging female television journalist, who is fighting the youth movement at the network, along with the lack of moral credibility in their stories, prove murder, and bring down a United States congressman, and his highly-respected physician partner? The twist in the end creates a revelation for Darcy's own self-worth, and forces her to confront her real motivation to why she pursued Lodge and Miller with such zeal, and causes her to make a life changing decision. This story not only examines a female's point of view about reaching 50-something, in a high-profile professional industry, but, also deals with society's self-imposed restrictions on age, and the erosion of the truth--being replaced with spinning network stories that cater to big business, and influential people. More importantly, it deals with the question: can one person make a difference in this world, or has society made it impossible to individually matter?

In the heart-pounding thriller, "Fatal Ambitions," Scarlett Kettermann, a skilled sniper for the elite S.W.A.T. team, faces an unthinkable choice during a critical mission – saving her best friend at the cost of extinguishing the leader of a formidable criminal faction. As her hard-earned achievements teeter on the edge of destruction, Scarlett seeks refuge from the vengeful underworld by assuming the role of a protector. Enter Dianna McAllister, a 32-year-old powerhouse, and CEO of a corporate empire. Scarlett becomes her vigilant shield against imminent threats, unknowingly stepping into a world where ambition collides with danger. Dianna's opulent life becomes a mesmerizing backdrop, and Scarlett, once resolute in her focus, finds herself entangled in a web of intrigue and desire. "Fatal Ambitions" is a riveting tale of sacrifice, survival, and unexpected passion. As Scarlett navigates the treacherous waters between duty and longing, readers will be drawn into a suspenseful narrative that unravels the complexities of power, ambition, and the unforeseen allure of matters of the heart. Brace yourself for a thrilling journey where the price of ambition may prove more perilous than Scarlett ever imagined.

Content Structure for Flash Fiction has never been so simple and fast. What if all story ideas were able to be boiled down to a single formula? Wycliffe A. Hill had this idea in the 1930's when no less than Cecil B. DeMille rejected one of his stories because ""it had a good narrative, but no drama."" This led Hill to research what made a dramatic story. Diving into the problem that the growing movie industry had for volume treatments to feed their industry, Hill created a device to harvest these many different possibilities for plot creation. The original ""Genie"" he produced was to explore the idea of a formulaic basis for stories. For Flash Fiction, the work is even more daunting, as it's not a question of filling in more conflict, action, or romance by adding words. The object of this book is more for education of the author in the basics of how to string a plot together, and maybe a solution to any ""writer's block."" Win the day. Get Your Copy Now.

David Korman is a man with a reputation. In his day, he has risked his life in service to both the United States and Israel more times than he can count. By the time he reaches retirement, he knows that the chaos and danger of his life will never be a thing of the past. There are some jobs you can never really leave behind. When a new terror appears, David must answer the call. His challenge is to neutralize not one but two enemies of the state: the first, a powerful group working to defraud the US government out of billions, and the second, a terrorist group with a major port city in its sights. He must rely on a lifetime of instinct and intelligence in order to stop the plans to obliterate the port, prevent the murder millions of American citizens with radioactive agents, and foil the plot to steal the country's money. The hunt is on for predators who won't think twice about threatening Korman's family in order to safeguard their real efforts. Korman's quest takes him around the planet in pursuit of the truth-and the people responsible for terror.

The Moving City: Processions, Passages and Promenades in Ancient Rome focusses on movements in the ancient city of Rome, exploring the interaction between people and monuments. Representing a novel approach to the Roman cityscape and culture, and reflecting the shift away from the traditional study of single monuments into broader analyses of context and space, the volume reveals both how movement adds to our understanding of ancient society, and how the movement of people and goods shaped urban development. Covering a wide range of people, places, sources, and times, the volume includes a survey of Republican, imperial, and late antique movement, triumphal processions of conquering generals, seditious, violent movement of riots and rebellion, religious processions and rituals and the everyday movements of individual strolls or household errands. By way of its longue durée, dense location and the variety of available sources, the city of ancient Rome offers a unique possibility to study movements as expressions of power, ritual, writing, communication, mentalities, trade, and – also as a result of a massed populace – violent outbreaks and attempts to keep order. The emerging picture is of a bustling, lively society, where cityscape and movements are closely interactive and entwined.

The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon. For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."