A different way of discovering and developing the best business ideas Jack Welch once said, "Someone, somewhere has a better idea." In this myth-busting book, the authors reveal that great business ideas do not spring from innate creativity, or necessarily from the brilliant minds of people. Rather, great ideas come to those who are in the habit of looking for great ideas all around them, all the time. Too often, people fall into the trap of thinking that the only worthwhile idea is a thoroughly original one. Idea Hunters know better. They understand that valuable ideas are already out there, waiting to be found - and not just in the usual places. Shows how to expand your capacity to find and develop winning business ideas Explains why ideas are a critical asset for every manager and professional, not just for those who do "creative" Reveals how to seek out and select the ideas that best serve your purposes and goals and define who you are, as a professional Offers practical tips on how to master the everyday habits of an Idea Hunter, which include cultivating great conversations The book is filled with illustrative accounts of successful Idea Hunters and stories from thriving "idea" companies. Warren Buffet, Walt Disney, Thomas Edison, Mary Kay Ash, Twitter, and Pixar Animation Studios are among the many profiled.

Explore the dark underworld of wish hunting in the compelling first installment of this urban fantasy trilogy set in Savannah, Georgia—perfect for fans of Laini Taylor and V. E. Schwab. Nadia Kaminski’s family has stolen wishes for generations, auctioning them off to skeevy business tycoons and politicians in back-alley deals. Their operation is simple enough. Find someone who gained a wish after saving a life. Trick the wisher into sharing a deep secret. Steal the wish. And as a marriage counselor, Nadia has more access to people’s secrets than most.But when Nadia comes across the perfect opportunity to steal a wish for herself, she takes it—and the rock star she’s stolen it from desperately wants his wish back.As Nadia tries to figure out how to get rid of the cocky thorn in her side, she must face off against vengeful wish hunters, her all-too-powerful family, and the consequences of her own desires—because stealing wishes can be a deadly affair. Content note: spousal death, gun violence, miscarriage.

Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .

Part revenge tale, part fairy tale—an electrifying story of marriage, infidelity and power by the author of the #1 Indie Next Pick, The End We Start From. A MILLIONS Most Anticipated Book of the Month A Best Book of Fall for ESQUIRE A VOGUE Novel Editors Recommend for Fall A LITERARY HUB 20 books that are laced with sinister magic Lucy and Jake live in a house by a field where the sun burns like a ball of fire. Lucy has set her career aside in order to devote her life to the children, to their finely tuned routine, and to the house itself, which comforts her like an old, sly friend. But then a man calls one afternoon with a shattering message: his wife has been having an affair with Lucy’s husband, Jake. The revelation marks a turning point: Lucy and Jake decide to stay together, but make a special arrangement designed to even the score and save their marriage—she will hurt him three times. As the couple submit to a delicate game of crime and punishment, Lucy herself begins to change, surrendering to a transformation of both mind and body from which there is no return. Told in dazzling, musical prose, The Harpy is a dark, staggering fairy tale, at once mythical and otherworldly and fiercely contemporary. It is a novel of love, marriage and its failures, of power, control and revenge, of metamorphosis and renewal. “A beautiful, poetic account of [a] marriage, and also an insightful character study . . . And when it borders on a dark fairy tale, The Harpy soars.” —NPR

Finalist for the 2017 Chicago Review of Books Fiction Award and a 2017 NPR Great Read Recommended reading by Nylon, Buzzfeed, Vulture, Lit Hub, Chicago Review of Books and Chicago Reader "With this novel, Hunter establishes herself as an unforgettable voice in American letters. Her work here, as ever, is unparalleled." —Roxane Gay, author of Bad Feminist and Hunger Achingly funny and full of feeling, Eat Only When You’re Hungry follows fifty-eight-year-old Greg as he searches for his son, GJ, an addict who has been missing for three weeks. Greg is bored, demoralized, obese, and as dubious of GJ’s desire to be found as he is of his own motivation to go looking. Almost on a whim, Greg embarks on a road trip to central Florida—a noble search for his son, or so he tells himself. Greg takes us on a tour of highway and roadside, of Taco Bell, KFC, gas-station Slurpees, sticky strip-club floors, pooling sweat, candy wrappers and crumpled panes of cellophane and wrinkled plastic bags tumbling along the interstate. This is the America Greg knows, one he feels closer to than to his youthful idealism, closer even than to his younger second wife. As his journey continues, through drive-thru windows and into the living rooms of his alluring ex-wife and his distant, curmudgeonly father, Greg’s urgent search for GJ slowly recedes into the background, replaced with a painstaking, illuminating, and unavoidable look at Greg’s own mistakes—as a father, as a husband, and as a man. Brimming with the same visceral regret and joy that leak from the fast food Greg inhales, Eat Only When You’re Hungry is a wild and biting study of addiction, perseverance, and the insurmountable struggle to change. With America’s desolate underbelly serving as her guide, Lindsay Hunter elicits a singular type of sympathy for her characters, using them to challenge our preconceived notions about addiction and to explore the innumerable ways we fail ourselves.

The hunter arrives in an isolated community in the Tasmanian wilderness with a single purpose in mind: to find the last thylacine, the tiger of fable, fear and legend. The man is in the employ of the mysterious 'Company', but his sinister purpose is never revealed and as his relationship with a grieving mother and her two children becomes more ambiguous, the hunt becomes his own. Leigh's Tasmania is a place where the wilderness can still claim lives; where the connection between people and the land is at best uneasy and cannot be trusted. In prose of exceptional clarity and elegance, Julia Leigh creates an unforgettable picture of a man obsessed by an almost mythical animal in a damp dangerous landscape. The Hunter is the work of a compelling storyteller and a truly remarkable literary stylist.

**NOW A MAJOR MOTION PICTURE STARRING JODIE COMER, EXECUTIVE PRODUCED BY BENEDICT CUMBERBATCH, AND WRITTEN BY ALICE BIRCH (NORMAL PEOPLE)** “The End We Start From by Megan Hunter is a short, concentrated book—a shot of distilled story, like the pulp of a tale boiled to a thick spiced paste. . . . With passages from mythology interspersed with its imagined future, the book is engrossing, compelling and finally hopeful.” —Naomi Alderman, author of The Power “The End We Start From is a beautifully spare, haunting meditation on the persistence of life after catastrophe. I loved it.” —Emily St. John Mandel, author of Station Eleven Longlisted for the 2018 Aspen Words Literary Prize Finalist for the Barnes & Noble 2017 Discover Great New Writers Award An indelible and elemental debut—a lyrical vision of the strangeness and beauty of new motherhood, and a tale of endurance in the face of unimaginable change. In the midst of a mysterious environmental crisis, as London is submerged below flood waters, a woman gives birth to her first child, Z. Days later, the family is forced to leave their home in search of safety. As they move from place to place, shelter to shelter, their journey traces both fear and wonder as Z's small fists grasp at the things he sees, as he grows and stretches, thriving and content against all the odds. This is a story of new motherhood in a terrifying setting: a familiar world made dangerous and unstable, its people forced to become refugees. Startlingly beautiful, Megan Hunter's The End We Start From is a gripping novel that paints an imagined future as realistic as it is frightening. And yet, though the country is falling apart around them, this family's world—of new life and new hope—sings with love.