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"Love," writes Michael Ian Black, "is cinema’s abiding theme, especially romantic love, the kind of 'meet cute' love that surmounts every roadblock on its journey to happy ever after."

But love (and marriage) in the movies, well, that bears little resemblance to the life that the comedian, actor (The State, Wet Hot American Summer) and best-selling author has found himself living, and, one might venture to speculate, the lives most of us live. Do you agree? Here's more of Black's take, written just for Amazon: 

"It’s no wonder that movies get marriage so wrong. After all, they are almost diametrically opposing experiences. Movies are about escape. Marriages are about 'no escape.' Once you tie your life to somebody else, there is no turning back, at least not without an attorney.

One of the things that inspired me to write my new book, You’re Not Doing It Right, is my annoyance at movie marriages, particularly the romantic comedy marriage. Hollywood has given us two, equally false, notions of marriage. Either it’s the joining of two gorgeous young people “destined” to be together, or as a wheezing and cold institution inhabited by miserable and middle-aged wheezebags, usually meant to illustrate a counterpoint to the love the gorgeous young couple in the film will share once their destinies are realized, and they are able to finally be together against all odds. Yawn. Boring. Wrong.

In my experience as a husband of thirteen years, marriage is neither of these things. Yes, my wife and I are both gorgeous. Hollywood got that part right. And yes, we had to surmount a few obstacles to be together, such as the fact that she was living with her boyfriend when we met.  But our trip down the aisle wasn’t the beginning of a perfect life together. It was the start of something else, something that cannot be encapsulated in ninety minutes and a soundtrack by Maroon 5."

Read more on the Amazon Studios Hollywonk blog.

Last year author Sherri Duskey Rinker published her first picture book, Goodnight, Goodnight, Construction Site, and it has become a slush pile success story, including a spot on our Top 10 Best Picture Books of 2011 list and topping the New York Times' bestsellers list for Children's Picture Books in January of this year.  With 5-star reviews from Amazon's customers and raves from the media, Goodnight has become the little engine that could.

Sherri graciously agreed to write something special for our Omni readers, sharing her inspiration behind the book (calling all Virginia Lee Burton fans!) and her story of getting it published with an illustrator she'd never heard of.  I have a feeling Goodnight, Goodnight, Construction Site is going to be a staple on kids' bookshelves for many years to come. --Seira

From the Slush Pile to #1: Realizing my vision. Or not.

I grew up loving picture books.

I can still hear my grandmother's voice over the sound of the pages turning, the old wind-up Westclox alarm clock ticking away and the sound of traffic rolling down Howard Street. I remember the smell of books mingling with the smell of freshly laundered sheets.

Virginia Lee Burton's The Little House was my favorite, and I obsessed over the whimsically sweet illustrations of that little pink house happily sitting upon a hill covered in daisies.

Inspired, I wanted to be an artist. I also wanted to be a poet, an art teacher, and a journalist. The ping-pong ball of art vs. words ended with a career as a graphic designer. It was a perfect fit: I took pictures and words and put them together in a pretty way.

I met an artist, a photographer. He also had grown up with Virginia Burton: Mike Mulligan and his Steam Shovel. It was a sign. So I married him. We had two boys and two good excuses for buying dozens (and dozens) of picture books.

Inspired by my youngest son's tireless (literally!) obsession with trucks, I wrote Goodnight, Goodnight Construction Site in stolen moments during the workday and late at night, after the boys were tucked in. And with the words emerged a vision (dare I say "obsession") for how the book and my trucks would look.

I could see it so clearly: realistic illustrations of trucks superimposed with facial expressions to convey the mood and create the characters. Strong, yet simple graphic elements to create the setting. A bit of realism. A bit of collage. A bit of a grunge to compliment the dirty work of the trucks.  I included the concept illustration with my manuscript and sent it, unsolicited, to Chronicle Books.

When my editor contacted me, three months aft