The coldness of space will kill a man dead, never quicker than when in his head.

Our story begins just after sunrise - a few minutes before the neighborhood’s safe shop opens. Outside the shop, a woman - disheveled, upset, insistent - pounds on the large glass window of the shop’s door. She shouts into the glass, something about losing a combination, her passport, a flight she needs to catch…

Frantic, she moves from the door to the shop’s window. Just as she leans closer to get a better look inside, cupping her hands to cut the glare, a man bursts through the shop door’s window. Bits of tempered glass are everywhere. The man’s draped - hanging half in half out. He’s bloodied and beaten beyond the cuts and nicks of the glass. He looks dead.

My website for my publishing business: SubGenre Publishers, featuring many different examples of promotional and publicity material.

Everything that follows after establishing your story is rote adaptation… almost. I think it’s all rote if you write the novel first. I wrote three feature screenplays before novelizing two of them (really, novelizing one and novella-izing the other). I wish I had done this in reverse, for three reasons...

I’ve often argued (more frequently the last year) that, coercion negates choice. I realized recently however that I’ve only ever come to this conclusion intuitively. I wasn’t arguing anything, it turns out.

What is it about the definition of choice that requires one not be coerced should one actually choose?

The history of philosophy is rich with theories about objects; theories of object kinds, their nature, the status of their existence, etc. In recent years philosophical logicians have attempted to formalize some of these theories, yielding many fruitful results. My thesis intends to add to this tradition in philosophical logic by developing a second-order logical system that may serve as a groundwork for a multitude of theories of objects.