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'The Moral Premise: Harnessing Virtue and Vice for Box Office Success' reveals the foundational concept at the heart of all successful box office movies and other stories. It is a principle that has been passed down from ancient times. It is a principle that modern research has shown is in all great stories that connect with audiences. If you ignore this principle, your story is doomed. But if you consistently apply it to each character, scene, and dramatic beat, it is the principle that will empower your storytelling, and illuminate all the other techniques you bring to the craft. It is the guiding principle of writing that allows films and all stories to be great.
If a story is going to fail, it will do so first at the premise level. Anatomy of a Premise Line: How to Master Premise and Story Development for Writing Success is the only book of its kind to identify a seven-step development process that can be repeated and applied to any story idea. This process will save you time, money, and potentially months of wasted writing. So whether you are trying to write a feature screenplay, develop a television pilot, or just trying to figure out your next story move as a writer, this book gives you the tools you need to know which ideas are worth pursuing. In addition to the 7-step premise development tool, Anatomy of a Premise Line also presents a premise and idea testing methodology that can be used to test any developed premise line. Customized exercises and worksheets are included to facilitate knowledge transfer, so that by the end of the book, you will have a fully developed premise line, log line, tagline, and a completed premise-testing checklist. Here is some of what you will learn inside: Ways to determine whether or not your story is a good fit for print or screen Case studies and hands-on worksheets to help you learn by participating in the process Tips on how to effectively work through writer’s block A companion website (www.routledge.com/cw/lyons) with additional worksheets, videos, and interactive tools to help you learn the basics of perfecting a killer premise line
Sam Harris dismantles the most common justification for religious faith--that a moral system cannot be based on science.
Highly controversial when it was first published in 1981, Alasdair MacIntyre's After Virtue has since established itself as a landmark work in contemporary moral philosophy. In this book, MacIntyre sought to address a crisis in moral language that he traced back to a European Enlightenment that had made the formulation of moral principles increasingly difficult. In the search for a way out of this impasse, MacIntyre returns to an earlier strand of ethical thinking, that of Aristotle, who emphasised the importance of 'virtue' to the ethical life. More than thirty years after its original publication, After Virtue remains a work that is impossible to ignore for anyone interested in our understanding of ethics and morality today.
John Truby is one of the most respected and sought-after story consultants in the film industry, and his students have gone on to pen some of Hollywood's most successful films, including Sleepless in Seattle, Scream, and Shrek. The Anatomy of Story is his long-awaited first book, and it shares all of his secrets for writing a compelling script. Based on the lessons in his award-winning class, Great Screenwriting, The Anatomy of Story draws on a broad range of philosophy and mythology, offering fresh techniques and insightful anecdotes alongside Truby's own unique approach for how to build an effective, multifaceted narrative. Truby's method for constructing a story is at once insightful and practical, focusing on the hero's moral and emotional growth. As a result, writers will dig deep within and explore their own values and worldviews in order to create an effective story. Writers will come away with an extremely precise set of tools to work with—specific, useful techniques to make the audience care about their characters, and that make their characters grow in meaningful ways. They will construct a surprising plot that is unique to their particular concept, and they will learn how to express a moral vision that can genuinely move an audience. The foundations of story that Truby lays out are so fundamental they are applicable—and essential—to all writers, from novelists and short-story writers to journalists, memoirists, and writers of narrative non-fiction.
Moral Ground brings together the testimony of over eighty visionaries—theologians and religious leaders, scientists, elected officials, business leaders, naturalists, activists, and writers—to present a diverse and compelling call to honor our individual and collective moral responsibility to our planet. In the face of environmental degradation and global climate change, scientific knowledge alone does not tell us what we ought to do. The missing premise of the argument and much-needed center piece in the debate to date has been the need for ethical values, moral guidance, and principled reasons for doing the right thing for our planet, its animals, its plants, and its people. Contributors from throughout the world (including North America, Africa, Australia, Asia, and Europe) bring forth a rich variety of heritages and perspectives. Their contributions take many forms, illustrating the rich variety of ways we express our moral beliefs in letters, poems, economic analyses, proclamations, essays, and stories. In the end, their voices affirm why we must move beyond a scientific study and response to embrace an ongoing model of repair and sustainability. These writings demonstrate that scientific analysis and moral conviction can work successfully side-by-side. This is a book that can speak to anyone, regardless of his or her worldview, and that also includes a section devoted to “what next” thinking that helps the reader put the words and ideas into action in their personal lives. Thanks to generous support from numerous landmark organizations, such as the Kendeda Fund and Germeshausen Foundation, the book is just the starting point for a national, and international, discussion that will be carried out in a variety of ways, from online debate to “town hall” meetings, from essay competitions for youth to sermons from pulpits in all denominations. The “Moral Ground movement” will result in a newly discovered, or rediscovered, commitment on a personal and community level to consensus about our ethical obligation to the future. Contributors include: Fred W. Allendorf, Bartholomew I, Mary Catherine Bateson, Thomas Berry, Wendell Berry, Marcus J. Borg, J. Baird Callicott, Courtney S. Campbell, F. Stuart Chapin III, Robin Morris Collin, Michael M. Crow, Dalai Lama, Alison Hawthorne Deming, Brian Doyle, David James Duncan, Massoumeh Ebtekar, Jesse M. Fink, Dave Foreman, Thomas L. Friedman, James Garvey, Thich Nhat Hanh, Paul Hawken, Bernd Heinrich, Linda Hogan, bell hooks, Dale Jamieson, Derrick Jensen, John Paul II, Martin S. Kaplan, Angayuqaq Oscar Kawagley, Stephen R. Kellert, Robin W. Kimmerer, Barbara Kingsolver, Shepard Krech III, Ursula K. Le Guin, Hank Lentfer, Carly Lettero, Oren Lyons, Wangari Maathai, Sallie McFague, Bill McKibben, Katie McShane, Curt Meine, Ming Xu, N. Scott Momaday, Kathleen Dean Moore, Hylton Murray-Philipson, Gary Paul Nabhan, Seyyed Hossein Nasr, Michael P. Nelson, Barack Obama, Ernest Partridge, John Perry, Edwin P. Pister, Carl Pope, Robert Michael Pyle, David Quammen, Daniel Quinn, Kate Rawles, Tri Robinson, Libby Roderick, Holmes Rolston III, Deborah Bird Rose, Jonathan F. P. Rose, Carl Safina, Scott Russell Sanders, Lauret Savoy, Nirmal Selvamony, Ismail Serageldin, Peter Singer, Sulak Sivaraksa, Gary Snyder, James Gustave Speth, Brian Swimme, Bron Taylor, Paul B. Thompson, George Tinker, Joerg Chet Tremmel, Quincy Troupe, Mary Evelyn Tucker, José Galizia Tundisi, Brian Turner, Desmond Tutu, Steve Vanderheiden, John A. Vucetich, Kimberly A. Wade-Benzoni, Sheila Watt-Cloutier, Alan Weisman, Terry Tempest Williams, E. O. Wilson, and Xin Wei.
Moral realists maintain that morality has a distinctive subject matter. Specifically, realists maintain that moral discourse is representational, that moral sentences express moral propositions - propositions that attribute moral properties to things. Noncognitivists, in contrast, maintain that the realist imagery associated with morality is a fiction, a reification of our noncognitive attitudes. The thought that there is a distinctively moral subject matter is regarded as somethingto be debunked by philosophical reflection on the way moral discourse mediates and makes public our noncognitive attitudes. The realist fiction might be understood as a philosophical misconception of a discourse that is not fundamentally representational but whose intent is rather practical.There is, however, another way to understand the realist fiction. Perhaps the subject matter of morality is a fiction that stands in no need of debunking, but is rather the means by which our attitudes are conveyed. Perhaps moral sentences express moral propositions, just as the realist maintains, but in accepting a moral sentence competent speakers do not believe the moral proposition expressed but rather adopt the relevant non-cognitive attitudes. Noncognitivism, in its primary sense, is aclaim about moral acceptance: the acceptance of a moral sentence is not moral belief but is some other attitude. Standardly, non-cognitivism has been linked to non-factualism - the claim that the content of a moral sentence does not consist in its expressing a moral proposition. Indeed, the terms'noncognitivism' and 'nonfactualism' have been used interchangeably. But this misses an important possibility, since moral content may be representational but the acceptance of moral sentences might not be belief in the moral proposition expressed. This possibility constitutes a novel form of noncognitivism, moral fictionalism. Whereas nonfactualists seek to debunk the realist fiction of a moral subject matter, the moral fictionalist claims that that fiction stands in no need of debunking butis the means by which the noncognitive attitudes involved in moral acceptance are conveyed by moral utterance. Moral fictionalism is noncognitivism without a non-representational semantics.
Exploring the Illusion of Free Will and Moral Responsibility investigates the philosophical and scientific arguments for free will skepticism and their implications. Skepticism about free will and moral responsibility has been on the rise in recent years. In fact, a significant number of philosophers, psychologists, and neuroscientists now either doubt or outright deny the existence of free will and/or moral responsibility—and the list of prominent skeptics appears to grow by the day. Given the profound importance that the concepts of free will and moral responsibility hold in our lives—in understanding ourselves, society, and the law—it is important that we explore what is behind this new wave of skepticism. It is also important that we explore the potential consequences of skepticism for ourselves and society. Edited by Gregg D. Caruso, this collection of new essays brings together an internationally recognized line-up of contributors, most of whom hold skeptical positions of some sort, to display and explore the leading arguments for free will skepticism and to debate their implications.
No issue is more fateful for civilization than moral relativism. History knows not one example of a successful society which repudiated moral absolutes. Yet most attacks on relativism have been either pragmatic (looking at its social consequences) or exhorting (preaching rather than proving), and philosophers' arguments against it have been specialized, technical, and scholarly. In his typical unique writing style, Peter Kreeft lets an attractive, honest, and funny relativist interview a "Muslim fundamentalist" absolutist so as not to stack the dice personally for absolutism. In an engaging series of personal interviews, every conceivable argument the "sassy Black feminist" reporter Libby gives against absolutism is simply and clearly refuted, and none of the many arguments for moral absolutism is refuted.
Antirealist views about morality claim that moral facts or truths do not exist. Do these views imply that other types of normative facts, such as epistemic ones, do not exist? The Normative Web develops a positive answer to this question. Terence Cuneo argues that the similarities between moral and epistemic facts provide excellent reason to believe that, if moral facts do not exist, then epistemic facts do not exist. But epistemic facts, it is argued, do exist: to deny their existence would commit us to an extreme version of epistemological skepticism. Therefore, Cuneo concludes, moral facts exist. And if moral facts exist, then moral realism is true. In so arguing, Cuneo provides not simply a defense of moral realism, but a positive argument for it. Moreover, this argument engages with a wide range of antirealist positions in epistemology such as error theories, expressivist views, and reductionist views of epistemic reasons. If the central argument of The Normative Web is correct, antirealist positions of these varieties come at a very high cost. Given their cost, Cuneo contends, we should find realism about both epistemic and moral facts highly attractive.