A work in progress. A portfolio of stories, original work by Eugene Doyen. To be developed into screenplays, dramas and novels.

This book offers the first international look at how script development is theorised and practiced. Drawing on interviews, case studies, discourse analysis, creative practices and industry experiences, it brings together scholars and practitioners from around the world to offer critical insights into this core, but often hidden, aspect of screenwriting and screen production. Chapters speculate and reflect upon how creative, commercial and social practices – in which ideas, emotions, people and personalities combine, cohere and clash – are shaped by the practicalities, policies and rapid movements of the screen industry. Comprising two parts, the book first looks ‘into’ script development from a theoretical perspective, and second looks ‘out from’ the practice to form practitioner-led perspectives of script development. With a rising interest in screenwriting and production studies, and an increased appetite for practice-based research, the book offers a timely mapping of the terrain of script development, providing rich foundations for both study and practice.

The Palgrave Handbook of Script Development provides the first comprehensive overview of international script development practices. Across 40 unique chapters, readers are guided through the key challenges, roles and cultures of script development, from the perspectives of creators of original works, those in consultative roles and those giving broader contextual case studies. The authors take us inside the writers’ room, alongside the script editor, between development conversations, and outside the mainstream and into the experimental. With authors spanning upwards of 15 countries, and occupying an array of roles – including writer, script editor, producer, script consultant, executive, teacher and scholar, this is a truly international perspective on how script development functions (or otherwise) across media and platforms. Comprising four parts, the handbook guides readers behind the scenes of script development, exploring unique contexts, alternative approaches, specific production cultures and global contexts, drawing on interviews, archives, policy, case study research and the insider track. With its broad approach to a specialised practice, the Palgrave Handbook of Script Development is for anyone who practices, teaches or studies screenwriting and screen production.

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.

Drawing on the author's own experience of using and researching student portfolios, this book analyses the implications for the development of the portfolio for assessment.

Some of the greatest movies and television series have been written by script partners. Script Partners, Second Edition brings together the experience, knowledge, and winning techniques of Hollywood’s most productive partnerships—including Lucy Alibar & Benh Zeitlin (Beasts of the Southern Wild ), Craig Borten & Melisa Wallack (Dallas Buyers Club), and Andrew Reich & Ted Cohen (Friends). Established and aspiring screenwriters will learn how to pick the right partner and the right project, co-create character and story structure, co-draft and revise a script, collaborate in film school and in the film industry, and manage both the creative and business sides of partnerships.

This volume presents chapters by researchers, practitioners, and policymakers who study the impact of classroom portfolios in the assessment of writing achievement by elementary and middle grade students. The focus throughout the volume is on the tension between classroom assessment and externally mandated testing. It presents the efforts of researchers, practitioners, and policymakers to understand the impact of classroom portfolios for the assessment of writing achievement by elementary and middle grade students. Under the auspices of the Center for the Study of Writing, the editors conducted a national survey of exemplary portfolio projects, arranged for a series of "video visits," and held several working conferences. The result of this work is a broad-ranging tale: the aspirations of teachers and administrators to move the machinery of schooling in the direction of more authentic and engaging tasks, the puzzlement of students when they realize that the assignments are real and that the teacher may not have a "right answer" in mind, and the tensions between ivory-tower ideas and everyday classroom practice. Divided into four sections, this research volume: * provides a historical perspective, develops the conceptual framework that serves as a background for many activities described throughout, and discusses numerous practical issues that confront today's researchers and practitioners; * views the phenomenon of writing portfolios through a variety of broadview lenses such as teacher enthusiasm, student reflection, assessment tension, the portfolio as metaphor, and the locus of control; * conveys important conceptual issues with a balance toward pragmatics; and * offers unique insights from the perspective of one individual who serves as scholar, researcher, and teacher.

This book equips pre-service teachers, research postgraduate students, teacher educators, and language specialists with specific knowledge and skills about the principles, research, and applications of digital portfolios within the EFL writing contexts. While most digital portfolio scholarship focuses on higher education, this book targets primary-level and secondary-level school audiences, namely pre-service teachers, teacher educators, and Ministry of Education staff members with a focus on EFL writing. The rationale behind this design is that the published literature on digital portfolios tends to be generic and one-size-fits-all; there has been scant published scholarship about the development of digital portfolio literacy among teachers and pupils, which could enable them to upgrade the teaching and learning of writing in a larger EFL environment. This volume fills this gap by illustrating the why, what, and how aspects of digital portfolios in ten reader-friendly chapters. Guiding educators to enrich their pedagogical repertoire via the portfolio approach, this book emphasises a healthy balance between principles, research, and practice. It is an easy-to-follow guide to setting up digital portfolio systems and coaching pupils to improve writing, ensuring the dissemination of digital portfolios with high fidelity.

Illustrating the myriad ways that mothers provide for their children—piloting airplanes, washing floors, or dancing at a strip club—this book is the first to depict a sex-worker parent. It provides an expanded notion of working mothers and challenges the idea that only some jobs result in good parenting. We’re reminded that, while every mama’s work looks different, every mama works to make their baby’s world better.

Transitioning new engineers into professionals who can blend in and contribute to the technical organization is, at best, doubtful. Trained in the "nuts and bolts" of a technical subject, new engineers have little to no training on the "soft" skills of how to work within an organization. This robust guide shows new engineers how to quickly operate and succeed within their new engineering organization. Navigating the Engineering Organization: A New Engineer’s Guide focuses on the group behaviors of technical organizations. It provides a rigorous organizational framework to operate from and delivers guidance using a dual approach of academic insight and professional experience. Through numerous case studies, the book presents actual experiential guidance and offers a method on how to extend the insights covered in the book and turn them into a valuable personal model, valid throughout the engineer’s career. It helps readers understand quickly the unique values and expectations within their new engineering organization and guides them in discovering the proper ways to respond to these expectations. They can then act on these insights to deliver successful results, now and throughout their careers. The approach and goals found in this book provide a building block to help all new engineers cross the "Great Divide" from student to professional and succeed in their new engineering organization.