Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Now in its tenth anniversary year, The Room is an international phenomenon to rival The Rocky Horror Picture Show. Thousands of fans wait in line for hours to attend screenings complete with costumes, audience rituals, merchandising, and thousands of plastic spoons.Readers need not have seen The Room to appreciate its costar Greg Sestero’s account of how Tommy Wiseau defied every law of artistry, business, and interpersonal relationships to achieve the dream only he could love. While it does unravel mysteries for fans, The Disaster Artist is more than just an hilarious story about cinematic hubris: It is ultimately a surprisingly inspiring tour de force that reads like a page-turning novel, an open-hearted portrait of a supremely enigmatic man who will capture your heart.

    It wasn’t drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton’s life schoolbook, informing his notion of acting, writing, comedy, and relationships.Set in the nascent days of LA’s alternative comedy scene, Silver Screen Fiend chronicles Oswalt’s journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way.

    Growing up, his dad would drive him up and down to London for auditions, sometimes three or four times a week, only to be met with constant rejections. Even the teenage distractions of girls, forming his own pop group, attempted (and failed) shoplifting, or the endless detentions he'd get from exasperated teachers didn't put him off. He knew where he wanted to be and he'd keep on trying until he got there, and here is the story of how he did it. From his time as one of the founding players of his school's first ever rugby team to nationwide fame as the loveably loud Smithy in the award-winning Gavin and Stacey, this is a tenderly—and very funnily—told story of what it’s like to try, try, and try again and get there in the end.

    Star of action blockbuster Alpha Papa; a man with a fascinating past and an amazing future.Gregarious and popular, yet Alan’s never happier than when relaxing in his own five-bedroom, south-built house with three acres of land and access to a private stream. But who is this mysterious enigma?Alan Gordon Partridge is the best – and best-loved – radio presenter in the region. Born into a changing world of rationing, Teddy Boys, apes in space and the launch of ITV, Alan’s broadcasting career began as chief DJ of Radio Smile at St. Luke’s Hospital in Norwich. After replacing Peter Flint as the presenter of Scout About, he entered the top 8 of BBC sports presenters.But Alan’s big break came with his primetime BBC chat show Knowing Me, Knowing You. Sadly, the show battled against poor scheduling, having been put up against News at Ten, then in its heyday. Due to declining ratings, a single catastrophic hitch (the killing of a guest on air) and the dumbing down of network TV, Alan’s show was cancelled. Not to be dissuaded, he embraced this opportunity to wind up his production company, leave London and fulfil a lifelong ambition to return to his roots in local radio.Now single, Alan is an intensely private man but he opens up, for the second time, in this candid, entertaining, often deeply emotional – and of course compelling – memoir, written entirely in his own words. (Alan quickly dispelled the idea of using a ghost writer. With a grade B English Language O-Level, he knew he was up to the task.)He speaks touchingly about his tragic Toblerone addiction, and the painful moment when unsold copies of his first autobiography, Bouncing Back, were pulped like ‘word porridge’. He reveals all about his relationship with his ex-Ukrainian girlfriend, Sonja, with whom he had sex at least twice a day, and the truth about the thick people who make key decisions at the BBC.A literary tour de force, I, Partridge: We Need to Talk About Alan charts the incredible journey of one of our greatest broadcasters.

    It is doubtful that Bennett could have made up the eccentric Miss Shepherd if he tried, but his poignant, funny but unsentimental account of their strange relationship is akin to his best fictional screen writing.Bennett concedes that "One seldom was able to do her a good turn without some thoughts of strangulation", but as the plastic bags build up, the years pass by and Miss Shepherd moves into Bennett's driveway, a relationship is established which defines a certain moment in late 20th-century London life which has probably gone forever. The dissenting, liberal, middle-class world of Bennett and his peers comes into hilarious but also telling collision with the world of Miss Shepherd: "there was a gap between our social position and our social obligations. It was in this gap that Miss Shepherd (in her van) was able to live". Bennett recounts Miss Shepherd's bizarre escapades in his inimitable style, from her letter to the Argentinean Embassy at the height of the Falklands War, to her attempts to stand for Parliament and wangle an electric wheelchair out of the Social Services. Beautifully observed, The Lady in the Van is as notable for Bennett's attempts to uncover the enigmatic history of Miss Shepherd, as it is for its amusing account of her eccentric escapades. --Jerry Brotton

    The essays in How to Ruin Everything range from the absurd (how he became an international ivory smuggler) to the comical (his middle-school rap battle dominance) to the revelatory (his experiences with epilepsy), yet all are delivered with the type of linguistic dexterity and self-awareness that has won Watsky more than 765,000 YouTube subscribers. Alternately ribald and emotionally resonant, How to Ruin Everything announces a versatile writer with a promising career ahead.

    This new edition of Writing Television Sitcoms features the essential information every would-be teleplay writer needs to know to break into the business, including: - Updated examples from contemporary shows such as 30 Rock, The Office and South Park - Shifts in how modern stories are structured - How to recognize changes in taste and censorship - The reality of reality television - How the Internet has created series development opportunities - A refined strategy for approaching agents and managers - How pitches and e-queries work - or don't - The importance of screenwriting competitions

    Julius Henry Marx.

    It involves six to seven players and many kinds of scenes: games, monologues, songs, skits and more, all of which are bound to keep both actors and audience members guessing. The Harold is non-linear entertainment that remembers everything and wastes nothing the key to successful improvising and has become a standard in comedy clubs and improv theatres around the globe.

    In this entertaining and inspirational book you'll hear from 21 top humor writers as they discuss the comedy writing process, their influences, their likes and dislikes, and experiences in the industry. Funny and informative, And Here's the Kicker is a must have guide for aspiring humor writers and simply a great read for fans.

    But instead he woke up one day to find himself fired from his radio job, surrounded by feral cats, and emotionally and financially annihilated by a divorce from a woman he thought he loved. He tried to heal his broken heart through whatever means he could find—minor-league hoarding, Viagra addiction, accidental racial profiling, cat fancying, flying airplanes with his mind—but nothing seemed to work. It was only when he was stripped down to nothing that he found his way back.Attempting Normal is Marc Maron’s journey through the wilderness of his own mind, a collection of explosively, painfully, addictively funny stories that add up to a moving tale of hope and hopelessness, of failing, flailing, and finding a way. From standup to television to his outrageously popular podcast, WTF with Marc Maron, Marc has always been a genuine original, a disarmingly honest, intensely smart, brutally open comic who finds wisdom in the strangest places. This is his story of the winding, potholed road from madness and obsession and failure to something like normal, the thrillingly comic journey of a sympathetic f***up who’s trying really hard to do better without making a bigger mess. Most of us will relate.

    (I understand that it’s likely the former, which is a fancy “book” way of saying “the first one.”) I talk about my grandparents, doing stand-up comedy as a teenager, bar mitzvahs, and Jewish summer camp, and tell way more stories about doing drugs than my mother would like. I also talk about some of my adventures in Los Angeles, and surely say things about other famous people that will create a wildly awkward conversation for me at a party one day. I hope you enjoy the book should you buy it, and if you don’t enjoy it, I’m sorry. If you ever see me on the street and explain the situation, I’ll do my best to make it up to you.

    A Slip of the Keyboard brings together for the first time the finest examples of Pratchett's non fiction writing, both serious and surreal: from musings on mushrooms to what it means to be a writer (and why banana daiquiris are so important); from memories of Granny Pratchett to speculation about Gandalf's love life, and passionate defences of the causes dear to him.With all the humour and humanity that have made his novels so enduringly popular, this collection brings Pratchett out from behind the scenes of the Discworld to speak for himself - man and boy, bibliophile and computer geek, champion of hats, orang-utans and Dignity in Dying.

    Some of those words include: the, a, for, above, and even even. Put them together and you have the funniest, most heartfelt, and most inspirational memoir on survival, success, and the importance of believing in yourself since Old Yeller.The question you’re probably asking yourself right now is: What does Kevin Hart have that a book also has?According to the three people who have seen Kevin Hart and a book in the same room, the answer is clear:A book is compact. Kevin Hart is compact.A book has a spine that holds it together. Kevin Hart has a spine that holds him together.A book has a beginning. Kevin Hart’s life uniquely qualifies him to write this book by also having a beginning.It begins in North Philadelphia. He was born an accident, unwanted by his parents. His father was a drug addict who was in and out of jail. His brother was a crack dealer and petty thief. And his mother was overwhelmingly strict, beating him with belts, frying pans, and his own toys.The odds, in short, were stacked against our young hero, just like the odds that are stacked against the release of a new book in this era of social media (where Hart has a following of over 100 million, by the way).But Kevin Hart, like Ernest Hemingway, JK Rowling, and Chocolate Droppa before him, was able to defy the odds and turn it around. In his literary debut, he takes the reader on a journey through what his life was, what it is today, and how he’s overcome each challenge to become the man he is today.And that man happens to be the biggest comedian in the world, with tours that sell out football stadiums and films that have collectively grossed over $3.5 billion.He achieved this not just through hard work, determination, and talent: It was through his unique way of looking at the world. Because just like a book has chapters, Hart sees life as a collection of chapters that each person gets to write for himself or herself.“Not only do you get to choose how you interpret each chapter, but your interpretation writes the next chapter,” he says. “So why not choose the interpretation that serves your life the best?”

    At fifteen, he took a job washing dishes in a local comedy club—just so he could watch endless stand-up for free. At sixteen, he was hosting a show for his local high school radio station in Syosset, Long Island—a show that consisted of Q&As with his comedy heroes, from Garry Shandling to Jerry Seinfeld. They talked about their careers, the science of a good joke, and their dreams of future glory (turns out, Shandling was interested in having his own TV show one day and Steve Allen had already invented everything).Thirty years later, Apatow is still that same comedy nerd—and he’s still interviewing funny people about why they do what they do.Sick in the Head gathers Apatow’s most memorable and revealing conversations into one hilarious, wide-ranging, and incredibly candid collection that spans not only his career but his entire adult life. Here are the comedy legends who inspired and shaped him, from Mel Brooks to Steve Martin. Here are the contemporaries he grew up with in Hollywood, from Spike Jonze to Sarah Silverman. And here, finally, are the brightest stars in comedy today, many of whom Apatow has been fortunate to work with, from Seth Rogen to Amy Schumer. And along the way, something kind of magical happens: What started as a lifetime’s worth of conversations about comedy becomes something else entirely. It becomes an exploration of creativity, ambition, neediness, generosity, spirituality, and the joy that comes from making people laugh.Loaded with the kind of back-of-the-club stories that comics tell one another when no one else is watching, this fascinating, personal (and borderline-obsessive) book is Judd Apatow’s gift to comedy nerds everywhere.Praise for Sick in the Head“I can’t stop reading it. . . . I don’t want this book to end.”—Jimmy Fallon “An essential for any comedy geek.”—Entertainment Weekly “Fascinating . . . a collection of interviews with many of the great figures of comedy in the latter half of the twentieth century.” —The Washington Post “Open this book anywhere, and you’re bound to find some interesting nugget from someone who has had you in stitches many, many times.”—Janet Maslin, The New York Times “An amazing read, full of insights and connections both creative and interpersonal.”—The New Yorker “Fascinating and revelatory.” —Chicago Tribune “For fans of stand-up, Sick in the Head is a Bible of sorts.”—Newsweek“These are wonderful, expansive interviews—at times brutal, at times breathtaking—with artists whose wit, intelligence, gaze, and insights are all sharp enough to draw blood.”—Michael Chabon “Anyone even remotely interested in comedy or humanity should own this book. It is hilarious and informative and it contains insightful interviews with the greatest comics, comedians, and comediennes of our time. My representatives assure me I will appear in a future edition.”—Will FerrellFrom the Hardcover edition.