Meet Julia Jackson. Apparently, she's been abducted....

A woman is taken at gunpoint from the downtown office of Southeastern Insurance, and the police believe the victim is Special Agent Julia Jackson. Only it isn't true.

Now, with the help of her new partner Mark Vincent, state fraud investigator Julia Jackson must find justice for the woman who was taken in her place.

As Vincent and Julia begin to unravel the multimillion-dollar frauds that led to the abduction, they encounter a cast of quirky characters, one of whom will go to desperate lengths to hide a deadly secret. Things only become more dangerous as bodies begin accumulating around town, and Julia must discover the truth before the abductor comes to rectify his mistake.

Absolute Liability is the first in the six-book Southern Fraud Thriller series, which blends suspense, humor, and Southern charm with just a touch of romance. If you enjoy reading humorous mysteries or watching TV crime dramedies like Castle and The Mentalist, you should like Absolute Liability.

The Southern Fraud Thriller Series
Absolute Liability
Death Benefits--Now Available!
At Fault--Coming 2012

Even an experienced forensic pathologist like Jessica Coran is shocked when she learns that a woman has been killed-and her spine has been removed from her body.

Complicating the case is the fact that one man has already been convicted for a similar crime, years earlier. Is there a copycat killer loose? Or does this mean that the man on death row is innocent? Jessica Coran is his only chance for freedom and the only person who can catch the killer...

Watch your back, Jessica.

Jasmine Griffin believes she has it all: a blossoming career at one of Atlanta’s most prestigious ad agencies; a passionate relationship with her boyfriend of nine years, Kahlil; and she is hopeful that she might finally have a shot at realizing her dream: to open a community center to honor her slain younger brother. Everything is looking up for her. Until… An uncle whom Jasmine barely remembers moves in after a near-fatal heart attack; a stunning betrayal loses the agency an important client, and costs Jasmine her job; and in desperation Jasmine turns to the one thing that she thought her mother’s death would have taught her to avoid forever: a drug addiction. In this case, meth. As she slips farther into the abyss, she realizes that fighting her way back will be a lot harder than she ever thought possible. Join Briana Scott and Carl H. Thompson as they take Jasmine on a thought-provoking, sometimes-funny, sometimes-tragic journey to Hell and back, examining issues of pride, economic hardship, drugs, violence, inner turmoil, love, loyalty, and most of all, what it means—and takes—to find one’s true self.

SOON TO BE A FEATURE FILM!
This Hugo Award-winning graphic novel chronicles the fall from grace of a group of super-heroes plagued by all-too-human failings. Along the way, the concept of the super-hero is dissected as the heroes are stalked by an unknown assassin.

One of the most influential graphic novels of all time and a perennial bestseller, WATCHMEN has been studied on college campuses across the nation and is considered a gateway title, leading readers to other graphic novels such as V FOR VENDETTA, BATMAN: THE DARK KNIGHT RETURNS and THE SANDMAN series.

Has any comic been as acclaimed as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's The Dark Knight Returns, but Watchmen remains the critics' favorite. Why? Because Moore is a better writer, and Watchmen a more complex and dark and literate creation than Miller's fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genre's finest creations (Saga of the Swamp Thing, V for Vendetta, and From Hell, with Eddie Campbell) first put out Watchmen in 12 issues for DC in 1986-87. It won a comic award at the time (the 1987 Jack Kirby Comics Industry Awards for Best Writer/Artist combination) and has continued to gather praise since.

The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterization is as sophisticated as any novel's. Importantly the costumes do not get in the way of the storytelling; rather they allow Moore to investigate issues of power and control--indeed it was Watchmen, and to a lesser extent Dark Knight, that propelled the comic genre forward, making "adult" comics a reality. The artwork of Gibbons (best known for 2000AD's Rogue Trooper and DC's Green Lantern) is very fine too, echoing Moore's paranoid mood perfectly throughout. Packed with symbolism, some of the overlying themes (arms control, nuclear threat, vigilantes) have dated but the intelligent social and political commentary, the structure of the story itself, its intertextuality (chapters appended with excerpts from other "works" and "studies" on Moore's characters, or with excerpts from another comic book being read by a child within the story), the finepace of the writing and its humanity mean that Watchmen more than stands up--it keeps its crown as the best the genre has yet produced. --Mark Thwaite

A Q&A with Dave Gibbons on the Making of Watchmen

Question: You were tasked with drawing new illustrations of key shots from the new Watchmen film. Was it a difficult challenge to re-imagine your work in this movie format?

Dave Gibbons: I don’t think that I actually did many key shots from the film. I had to actually imagine them rather than exactly recreate what was going to be in the movie. But as far as the drawings I did for the licensing purposes, accuracy was the real key so that they looked exactly like the movie. Whereas doing the graphic novel was creating stuff afresh and being very creative, this was more the case of interpreting something that already existed. So it was rather more a commercial art job than a creative thing.

Q: How many scenes from the original graphic novel did you redraw in the new "movie" format?

DG: I kind of did them piecemeal, these licensing drawings. I did do a section of storyboarding for Zack Snyder. There is a part of the movie that isn’t in the graphic novel and he wanted to see how I would have drawn it, if it had been in the graphic novel. So I redid the storyboards as three pages of comic on the nine-panel grid, also getting it coloured by John Higgins so it looked authentic. But I think there were probably only 3 or 4 scenes that I drew, which were from the movie.

Q: What was your working method for producing these new illustrations from the film? And how has it changed from when you originally illustrated Watchmen?

DG: When you’re producing things from existing material, you have to look at and assemble the references... you know, keep looking backwards and forwards to make sure what you’re drawing is accurate to what’s in the photos. I did have lots of photos from the movie and in some cases I had more or less the illustration I was going to do in photo form, which made it a lot easier. On others I had to construct it from various references: really just the usual illustrator’s job of drawing something to reference. And on the original illustrations of Watchmen, I was free to come up with exactly the angles and exactly the costumes and everything that I wanted to. When you’ve designed a costume and drawn it a few times, you actually internalize it and you find you can draw it without having to refer to reference at all. So in some ways it’s more creative and in some ways it’s easier!

Q: In Watchmen: The Art of the Film, there are concept designs by other artists of their visions of your iconic characters. What do you think of their versions and did you offer any guidance while they were working on these?

DG: It’s always really interesting to see versions of your characters drawn by other artists. You tend to see things in them that you hadn’t noticed before. So I really enjoyed looking at those. I certainly didn’t offer them any guidance. The purpose of getting those kinds of drawings done is to get a fresh perspective on what exists. I noticed actually that they really stuck more closely to my original designs than those, but I really enjoyed seeing them.

Q: Watchmen: Portraits is Clay Enos’s stunning black and white collection of photos of each character from the Watchmen movie. What was it like looking through this book at all the characters you had conceived years ago now being brought to life by actors?

DG: It’s rather interesting; you know if you look at the Watching the Watchmen book you can see these characters as fairly sketchy rough conceptual versions. Then when you look at Clay’s book you can actually see them right down to counting the number of pores on the skin on the end of their noses! It’s incredible high focus! It’s like zooming in through space and time to look at the surface of some moon of Saturn or something. I thoroughly enjoyed his book... it had a real artistic quality to it that was really so good. And of course to see these actors who so much are the embodiment of what I drew, that it’s a tremendous thrill to see them made flesh!

Q: Watchmen: The Film Companion features some stills from the animated version of The Black Freighter. What do you think of the look and design of this animated feature?

DG: It looks really interesting! Although I drew my version in the comic book in a kind of horror-comic style, these are very much in a savage manga style. I think they work really well... they’ve got the kind of manic intensity, which I think that work should have and I really can’t wait to see the whole feature. I’ve seen the trailer for it and that looks great and again they’ve used a lot of the compositions that I came up with but just translated them to this kind of very modern drawn animation.

Q: How much time did you spend on the set of Watchmen? Was it a surreal experience to see your work recreated like this?

DG: I was on the set of Watchmen for a couple of days and it really was surreal to walk through a door and then suddenly be in the presence of all these people in living breathing flesh! I was there for what you would call the Crimebusters meeting where they were all there in costume in the same room, which was incredible. They had obviously planned that so I would get to see everyone. It was surreal though quite a wonderful experience to see it come to life.

CONTENTS Absolute Surrender “The Fruit of the Spirit Is Love” Separated unto the Holy Ghost Peter’s Repentance Impossible with Man, Possible with God “O Wretched Man that I Am” “Having Begun in the Spirit” Kept by the Power of God “Ye Are the Branches”

In a heavily guarded mansion in a posh Virginia suburb, a man and a woman start to make love, trapping Luther Whitney, a career break-in artist, behind a secret wall. Then the passion turns deadly, and Luther is running into the night. Because what he has just seen is a brutal murder involving Alan Richmond, the president of the United States, the man with...Absolute Power.

Can the President get away with murder? The fictional answer to this question results in a fast-paced page turner that combines political intrigue with gritty, hard-boiled suspense

Absolutely anyone can take better photos!
 
If you can press a button, you can take great pictures. It’s as simple as that. In BetterPhoto Basics, Jim Miotke, founder of the popular online photography school BetterPhoto.com, shares tips and tricks to improve your photos right away, no matter what camera you’re using. Too busy to read a book? No problem—flip to any page for an instant tip to use right away! Learn to compose knockout shots, make the most of indoor and outdoor light, and photograph twenty popular subjects, from sunsets and flowers to a family portrait. Those who want to go further get tips on controlling exposure and the secrets behind ten advanced creative techniques. And everyone will appreciate Jim’s breakdown of easy fixes to make in Photoshop. No matter what your level of experience, you’ll be amazed how easy it is to start taking photos like the pros.  

“I know that many of you here have waited years for this Hour,” Mater Motley said, using that voice that, though it was barely conversational in volume, was somehow heard everywhere. “The waiting is over. Tomorrow there will be no dawn. Only midnight, absolute and eternal.”

And so begins a new chapter in the epic story of sixteen-year-old Candy Quackenbush and her journeys through the world of the Abarat, where every hour is an island in one eternal day, and nothing is as it seems.

Candy travels through the Abarat from island to island and across the sea with an unlikely band of friends: the escaped prisoner Malingo the Geshrat, the quarrelsome John Brothers, who all share the same body but never the same opinion, and the many other colorful characters they meet along the way.

The problem is that trouble finds Candy wherever she goes. And soon she discovers a secret plot, masterminded by the diabolical Mater Motley, who is obsessed with becoming Empress of the Islands. Her method is simple. She will darken the skies, putting out the suns, moons, and stars. She will bring absolute midnight.