Updated to include two extended final chapters with in-depth prescriptions for building a career in advertising, this edition also features a real-world look at the day-to-day operations of today's ad agencies. Among the most disparaged campaigns in advertising history, the Mr. Whipple ads for Charmin toilet paper were also wildly successful. Sullivan explores the Whipple phenomenon, examining why bad ads sometimes work, why great ads sometimes fail, and how advertisers can learn to balance creative work with the mandate to sell products.

    True, she can’t order anything through the mail for fear her dachshunds, Laverne and Shirley, will intercept and eat the contents, and she’s still carrying a few extra pounds from the birth of her kindergartener, but the rest of her life – marriage, kids, house, even her tennis game – is picture perfect.At least it is until the day her mother hands her a diet and exercise book called Look Great Naked and says, “I think your husband’s having an affair.” As the façade begins to crumble, Grace realizes that looking great naked means having nothing to hide. It’s accepting yourself exactly the way you are -- right here, right now, flaws, wrinkles, knots, bumps, lumps, bad attitude and all.

    GRAPHIC GORE. GRAPHIC SNARK. What would you do if you received a three-week warning of the coming zombie apocalypse? How would you prepare? What if the warning was wrong - and the undead rose a full week before you were ready?Joe Daniels may be luckier than most, but heʼs still in a jam. After weeks of prepping, he gets caught in a zombie storm. To accomplish his plans and stay alive, he has to rescue his wife, Clare, and travel 1,300 miles through Americaʼs zombie-infested countryside to the safety of northern Michigan.But, first, he has to battle his way out of New Orleans. With his cat, Azazel, in tow.Bloodbath in the Big Easy is the first book in the Zombie Chaos series. If you like the drama of The Walking Dead, the gore of Romeroʼs Dead series, and the humor of Shaun of the Dead, follow Joe on his journey through zombie-filled New Orleans.Join the survivors and pick up a copy of Zombie Chaos Book 1 today.

    The Hidden Tools of Comedy unlocks the unique secrets and techniques of writing comedy. Kaplan deconstructs sequences in popular films and TV that work and don’t work, and explains what tools were used (or should have been used).

    Now, on YouTube and blogs and Facebook and Twitter, we are media. And while we watch more television than ever before, how we watch it is changing in ways we have barely slowed down to register. No longer content in our traditional role as couch potatoes, we approach television shows, movies, even advertising as invitations to participate—as experiences to immerse ourselves in at will. Wired contributing editor Frank Rose introduces us to the people who are reshaping media for a two-way world—people like Will Wright (The Sims), James Cameron (Avatar), Damon Lindelof (Lost), and dozens of others whose ideas are changing how we play, how we chill, and even how we think. The Art of Immersion is an eye-opening look at the shifting shape of entertainment today.

    Volume I describes the Meta Model, a framework for comprehending the structure of language; Volume II applies NLP theory to nonverbal communication.

    Two registered sex offenders had come to live in the small town Greenberg had called home for thirty years, and his fellow citizens, terrified and enraged, had come out to pin the blame on him. In this riveting memoir about a modern-day witch hunt, Greenberg recounts with his trademark acerbic humor what it is like to be the target of an entire town's wrath. As he describes his Hawthornian moment, he vividly sketches the characters and landscapes that make up a classic New England village and reflects on sex, panic, betrayal, and the sometimes beautiful, sometimes terrible ties that bind communities together.Gary Greenberg is the author of four books, most recently The Book of Woe: The DSM and the Unmaking of Psychiatry, which will be out in paperback this fall. His features and essays have appeared in many publications, including The New York Times, The New Yorker, Rolling Stone, and Harper's, where he is a contributing editor. He is the recipient of the Erik Erikson Institute Prize for Excellence in Mental Health Media. A practicing psychotherapist, he lives with his family in Connecticut.Cover design by Kristen Radtke.

    The latest book from award-winning writer Ellen Lupton is a playbook for creative thinking, showing designers how to use storytelling techniques to create satisfying graphics, products, services and experiences. Whether crafting a digital app or a data-rich publication, designers invite people to enter a scene and explore what’s there. An intriguing logo, page layout or retail space uses line, shape and form to lead users on dynamic journeys.Design Is Storytelling explores the psychology of visual perception from a narrative point of view. Presenting dozens of tools and concepts in a lively, visual manner, this book will help any designer amplify the narrative power of their work. Use this book to stir emotions, build empathy, articulate values and convey action; to construct narrative arcs and create paths through space; integrate form and language; evaluate a project’s storytelling power; and to write and deliver strong narratives.

    Beautiful Evidence is about how seeing turns into showing, how data and evidence turn into explanation. The book identifies excellent and effective methods for showing nearly every kind of information, suggests many new designs (including sparklines), and provides analytical tools for assessing the credibility of evidence presentations (which are seen from both sides: how to produce and how to consume presentations). For alert consumers of presentations, there are chapters on diagnosing evidence corruption and PowerPoint pitches. Beautiful Evidence concludes with two chapters that leave the world of pixel and paper flatland representations - and move onto seeing and thinking in space land, the real-land of three-space and time.

    A virus so vicious that it reduces the infected to a terrifying version of themselves that could lead to the end of our race as we know it. Elaina has been identified as the point of transmission and the reason for the chaos and havoc. She created the virus and let it out. Now, more than just the infected would like to see her head served up on a platter. When havoc unfolds in the city, law enforcement officer Alec is involved in an accidental shooting. Put on paid leave, he bitterly lays low during the madness until he’s called back to help control the alarming spread of the virus, while hoping to put an end to the person responsible for the virus and his near-shattered career. Elaina is trying to stay under the radar too, but she can’t hide forever. She has to help stop this and come up with a cure before it’s too late. When Alec and Elaina cross paths, they’ll have to decide what’s more important… revenge, redemption, or survival.

    Accomplished researcher and storyteller Kendall Haven, establishes the need for understanding the research findings in neural psychology and brain development and the value of a common definition of story if one is to fully grasp the importance and necessity of story to the development of the human mind. To support his case, he reviews a wealth of research from storytellers, teachers, and others who have experienced the power of story firsthand.The author has collected anecdotal experiences from over 100 performing storytellers and from 1,800 story practitioners (mostly teachers) who have made extensive use of stories. He has read more than 150 qualitative and quantitative research studies that discuss the effectiveness of stories and/or storytelling for one or more specific applications (education, organizational management, knowledge management, medical and narrative therapy, etc.). Forty of these studies were literature reviews and comparative studies including analysis of over 1,000 studies and descriptive articles. He has also gathered research evidence from his own story performances for total audiences of over 4 million and from conducting story writing workshops with 200,000 students and 40,000 teachers.

    In user experience, stories help us to understand our users, learn about their goals, explain our research, and demonstrate our design ideas. In this book, Quesenbery and Brooks teach you how to craft and tell your own unique stories to improve your designs.

    Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love.Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity.After considering art as adaptation, Boyd examines Homer's "Odyssey" and Dr. Seuss's "Horton Hears a Who!" demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience's attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin's birth and the 150th anniversary of the publication of "Origin of Species, " Boyd's study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

    The city is being rebuilt, and commerce and culture are flourishing.Aspiring playwright Philocles has come home to find a man with his throat cut slumped against his front gate. Is it just a robbery gone wrong? But, if so, why didn't the thieves take the dead man's valuables? With the play that could make his name just days away, he must find out who this man is, why he has been murdered - and why the corpse was left in his doorway.But Philocles soon realises he has been caught up in something far bigger, and there are those who don't want him looking any further . . .