Alex Epstein
Goodreads Author
Born
in New York, The United States
Website
Genre
Influences
Member Since
February 2011
URL
https://www.goodreads.com/thecirclecast
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One of the strangest and most original speculative fiction novels I've read in a few years. It's a world where science doesn't work but kabbalistically determined Names of God make things work; and, of course, corporations own them. The hero is an in ...more | |
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Pathogenesis: A History of the World in Eight Plagues
by Jonathan Kennedy (Goodreads Author) Goodreads Choice Awards Nominee in Best History & Biography |
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The Greatest Traitor: The Life of Sir Roger Mortimer, 1st Earl of March
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“I think human beings have evolved to appreciate narrative, in the same way that we have evolved to learn language. What is narrative, after all, but a kind of super-language, where stories, like words, are ways of encapsulating information?”
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“The single thought that can empower us to empower the world: Mankind's use of fossil fuels is supremely virtuous-because the human life is the standard of value, and because using fossil fuels transforms our environment to make it wonderful for human life.”
― The Moral Case For Fossil Fuels
― The Moral Case For Fossil Fuels
“A TV show is its characters. When you describe a TV show, you’re describing the characters and the situation they’re in.”
― Crafty TV Writing: Thinking Inside the Box
― Crafty TV Writing: Thinking Inside the Box
“I think human beings have evolved to appreciate narrative, in the same way that we have evolved to learn language. What is narrative, after all, but a kind of super-language, where stories, like words, are ways of encapsulating information?”
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“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
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We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
―
“He met with an incident."
"You mean an accident."
"Oh no, my Lord. There was nothing accidental about it.”
―
"You mean an accident."
"Oh no, my Lord. There was nothing accidental about it.”
―
![25x33](https://s.gr-assets.com/assets/nophoto/group/25x33-a226cbb96bda41ee598e8f4c921f2bdb.jpg)
...March 01, 2011 to March 31, 2011...
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Over 75 YA & MG novelists with debut titles releasing in 2011. Our group's website is loaded with infomation, so stop on by! http://community.livejour ...more