Eight years after 9/11 and in the shadow of two protracted U.S. military campaigns in the Middle East, the enemy is not only undefeated but emboldened and resurgent. What went wrong-and what should we do going forward? Winning the Unwinnable War shows how our own policy ideas led to 9/11 and then crippled our response in the Middle East, and it makes the case for an unsettling conclusion: By subordinating military victory to perverse, allegedly moral constraints, Washington's policy has undermined our national security. Owing to the significant influence of Just War Theory and neoconservatism, the Bush administration consciously put the imperative of shielding civilians and bringing them elections above the goal of eliminating real threats to our security. Consequently, this policy left our enemies stronger, and America weaker, than before. The dominant alternative to Bush-esque idealism in foreign policy-so-called realism-has made a strong comeback under the tenure of Barack Obama. But this nonjudgmental, supposedly practical approach is precisely what helped unleash the enemy prior to 9/11. The message of the essays in this thematic collection is that only by radically re-thinking our foreign policy in the Middle East can we achieve victory over the enemy that attacked us on 9/11. We need a new moral foundation for our Mideast policy. That new starting point for U.S. policy is the moral ideal championed by the philosopher Ayn Rand: rational self-interest. Implementing this approach entails objectively defining our national interest as protecting the lives and freedoms of Americans-and then taking principled action to safeguard them. The book lays out the necessary steps for achieving victory and for securing America's long-range interests in the volatile Middle East.

Eight years after 9/11 and in the shadow of two protracted U.S. military campaigns in the Middle East, the enemy is not only undefeated but emboldened and resurgent. What went wrong_and what should we do going forward? Winning the Unwinnable War shows how our own policy ideas led to 9/11 and then crippled our response in the Middle East, and it makes the case for an unsettling conclusion: By subordinating military victory to perverse, allegedly moral constraints, Washington's policy has undermined our national security. Owing to the significant influence of Just War Theory and neoconservatism, the Bush administration consciously put the imperative of shielding civilians and bringing them elections above the goal of eliminating real threats to our security. Consequently, this policy left our enemies stronger, and America weaker, than before. The dominant alternative to Bush-esque idealism in foreign policy_so-called realism_has made a strong comeback under the tenure of Barack Obama. But this nonjudgmental, supposedly practical approach is precisely what helped unleash the enemy prior to 9/11. The message of the essays in this thematic collection is that only by radically re-thinking our foreign policy in the Middle East can we achieve victory over the enemy that attacked us on 9/11. We need a new moral foundation for our Mideast policy. That new starting point for U.S. policy is the moral ideal championed by the philosopher Ayn Rand: rational self-interest. Implementing this approach entails objectively defining our national interest as protecting the lives and freedoms of Americans_and then taking principled action to safeguard them. The book lays out the necessary steps for achieving victory and for securing America's long-range interests in the volatile Middle East.

A professional TV writer's real-world guide to getting paid to write great television
"No need for me to ever write a book on TV writing. Alex Epstein has covered it all . . . along with a few things I wouldn't have thought of. Save yourself five years of rookie mistakes. "Crafty TV Writing" and talent are pretty much all you'll need to make it."
--Ken Levine, writer/producer, "MASH," "Cheers," "Frasier," "The Simpsons," "Wings," "Becker"
Everyone watches television, and everyone has an opinion on what makes good TV. But, as Alex Epstein shows in this invaluable guide, writing for television is a highly specific craft that requires knowledge, skill, and more than a few insider's tricks.
Epstein, a veteran TV writer and show creator himself, provides essential knowledge about the entire process of television writing, both for beginners and for professionals who want to go to the next level. "Crafty TV Writing" explains how to decode the hidden structure of a TV series. It describes the best ways to generate a hook, write an episode, create characters the audience will never tire of, construct entertaining dialogue, and use humor. It shows how to navigate the tough but rewarding television industry, from writing your first "spec" script, to getting hired to work on a show, to surviving--even thriving--if you get fired. And it illuminates how television writers think about the shows they're writing, whether they're working in comedy, drama, or "reality."
Fresh, funny, and informed, "Crafty TV Writing" is the essential guide to writing for and flourishing in the world of television.

Could everything we know about fossil fuels be wrong? For decades, environmentalists have told us that using fossil fuels is a self-destructive addiction that will destroy our planet. Yet at the same time, by every measure of human well-being, from life expectancy to clean water to climate safety, life has been getting better and better. How can this be? The explanation, energy expert Alex Epstein argues in The Moral Case for Fossil Fuels, is that we usually hear only one side of the story. We're taught to think only of the negatives of fossil fuels, their risks and side effects, but not their positives--their unique ability to provide cheap, reliable energy for a world of seven billion people. And the moral significance of cheap, reliable energy, Epstein argues, is woefully underrated. Energy is our ability to improve every single aspect of life, whether economic or environmental. If we look at the big picture of fossil fuels compared with the alternatives, the overall impact of using fossil fuels is to make the world a far better place. We are morally obligated to use more fossil fuels for the sake of our economy and our environment. Drawing on original insights and cutting-edge research, Epstein argues that most of what we hear about fossil fuels is a myth. For instance . . . Myth Fossil fuels are dirty. Truth The environmental benefits of using fossil fuels far outweigh the risks. Fossil fuels don't take a naturally clean environment and make it dirty; they take a naturally dirty environment and make it clean. They don't take a naturally safe climate and make it dangerous; they take a naturally dangerous climate and make it ever safer. Myth Fossil fuels are unsustainable, so we should strive to use "renewable" solar and wind. Truth The sun and wind are intermittent, unreliable fuels that always need backup from a reliable source of energy--usually fossil fuels. There are huge amounts of fossil fuels left, and we have plenty of time to find something cheaper. Myth Fossil fuels are hurting the developing world. Truth Fossil fuels are the key to improving the quality of life for billions of people in the developing world. If we withhold them, access to clean water plummets, critical medical machines like incubators become impossible to operate, and life expectancy drops significantly. Calls to "get off fossil fuels" are calls to degrade the lives of innocent people who merely want the same opportunities we enjoy in the West. Taking everything into account, including the facts about climate change, Epstein argues that "fossil fuels are easy to misunderstand and demonize, but they are absolutely good to use. And they absolutely need to be championed. . . . Mankind's use of fossil fuels is supremely virtuous--because human life is the standard of value and because using fossil fuels transforms our environment to make it wonderful for human life."

The most innovative and creative screenwriting book yet, from an author who knows first-hand what it takes to get a movie made.

Based on an award-winning website hailed as "smart enough for professional screenwriters and accessible enough for aspiring screenwriters", Crafty Screenwriting is the first book not only to offer a successful screenwriter's tricks of the trade, but to explain what development executives really mean when they complain that the "dialogue is flat," or "the hero isn't likeable." Fresh, provocative, and funny, Alex Epstein diagnoses problem that other screenwriting books barely address, and answers questions they rarely ask, like "Why is it sometimes dangerous to know your characters too well before you start writing," or "Why does your script have to be so much better than the awful pictures that get made every day?" As a development executive who has accepted and rejected countless screenplays, and a produced screenwriter himself, Epstein can take you into the heart of the most important question of all: "Is this a movie?" A crucial book for anyone who has ever wondered what it takes to get their movie made.