Reed Farrel Coleman showed us a darker side of Coney Island with “Jump” for Mondays Are Murder. Now see Dylan Coleman’s original storyboard illustrations of the story.
May 2013 News & Features
“The court will now pronounce its verdict,” the judge remarked plainly, as if he was going to read out the evening news.
Asghar Khan stood up in the witness box with the anticipation of a man in that twilight zone of hope when the decision has been made but not yet announced . . .
If you’re watching this, I’m dead. But don’t stop. Watch all the way through, and I suspect you’ll know who did it. This is my confession, and his . . .
She always left him, wandering off like a cat without provocation or explanation, returning just as suddenly and without comment after a day or a week or a month. He loved her, but it was hard to keep track of where he stood in her life. He kept her clothes neatly stacked in a chest of drawers and hoped for the best . . .
Photos from Hard Art, DC 1979‘s DC launch event at Politics and Prose!
The wipers groaned as the snow fell wet and heavy, slushballs exploding on the windshield like multiple exit wounds.
The day couldn’t be more perfect.
Hunched over the wheel, Michael squinted through the chaos to the road ahead, adjusting his course to follow the trenches dug by larger vehicles.
He would finally see his father. His father would finally see him . . .
Now and then, there are moments in a man’s life that offer up complete clarity. They’re rare, and rarer still is the ability to recognize them. It is only the truly intelligent, self-aware man who finds himself in a moment of clarity and actually sees it for what it is—and moves forward in a productive way.
Manny Antonio was not that kind of man . . .
To celebrate the release of The Family Mansion, Hirsh Sawhney asks Anthony C. Winkler about his writing process; what he thinks should be required reading for people interested in the Caribbean; and why writing screenplays is so different than writing a novel.
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