We are all actors in a play, for which the stage is set every day, in every workplace. Owners, managers, employees, customers and suppliers are all part of the constant, swirling emotional drama, a drama we call The Plot, involving victims, villains and heroes. This book explains how to step out of emotional dramas in the workplace.

Are all victims white? Are all villains black? White Victims, Black Villains traces how race and gender have combined in news media narratives about crime and violence in US culture. The book argues that the criminalization of African Americans in US culture has been most consistently and effectively legitimized by news media deeply invested in protecting and maintaining white supremacy. An illuminating, and often shocking text, White Victims, Black Villains should be read by anyone interested in race and politics.

First major anthology of dramatic work dealing with disabilities.

The domestic sex trafficking of minors is a problem of growing concern yet little critical attention. This book analyzes the forces behind the sex-trafficking industry in the United States and provides a much-needed reference for practitioners. It adopts a holistic approach, pursuing a nuanced exploration of these young people's experiences, their treatment, and outside efforts to combat sex trafficking. The book features interviews with service providers and experts, and incorporates recent research, thereby mapping the complex factors associated with young people's involvement in trading sex and the social connections that facilitate their behavior. It considers the experiences of both those who "choose" sex work and those who are forced into it by circumstances or third parties, and it discusses the networks of friends and close acquaintances who introduce newcomers to the trade. In addition, it takes a hard look at how local and federal responses to trafficking increase young people's vulnerability to trading sex. Urging policymakers and practitioners to move beyond the simple framework of "rescuing" victims and "punishing" villains, this book calls for policies and programs that focus on the failure of social and cultural systems and respond better to the young people caught in this web.

Proceeding from the premise that Jews, negatively depicted according to a range of demeaning stereotypes, are a feature of English crime writing between the two world wars, the author examines why this is so, with reference to recent debate over the profundity of anti-Semitism in Britain, and traces the evolution of fictional Jewish images in the context of socio-historical trends and events. Annotation copyrighted by Book News, Inc., Portland, OR

Whether you are branding your company, your product, your service, or yourself, learn to boost the power of your story and convey a compelling message in any setting by incorporating villains, victims, and heroes. Compelling stories exalt, motivate, and acculturate every worker in an enterprise. They also attract customers and media alike. Imagine an elderly man, snowed in, unable to shop for groceries until a supermarket comes to the rescue and delivers his food. The story of this company going out of its way to help a customer in need will resonate not only with consumers but also with employees. This book explains not just how to tell a captivating story, but also what elements—namely, villains, victims, and heroes—it should include in the first place. This approach is based on the notion that in business messaging, the villains may just be your best friends. The "villains" are simply any problems that cause pain, discomfort, or extra expense for customers, who are in effect the "victims." As for the "heroes," they are best illustrated by the supermarket going beyond expectations. Who in business wouldn't want to emulate that company? If your products and services offer real solutions to customers' predicaments, there is nothing more powerful than communicating that message and making sure your potential customers remember it.

New York Times bestselling author Donald Miller shares the plan that led him to turn his life around. This actionable guide will teach you how to do the same through journaling prompts and goal-planning exercises. There are four characters in every story: The victim, the villain, the hero, and the guide. These four characters live inside us. If we play the victim, we’re doomed to fail. If we play the villain, we will not create genuine bonds. But if we play the hero or guide, our lives will flourish. The hard part is being self-aware enough to know which character we are playing. In this book, bestselling author Donald Miller uses his own experiences to help you recognize if the character you are currently surfacing is helping you experience a life of meaning. He breaks down the transformational, yet practical, plan that took him from slowly giving up to rapidly gaining a new perspective of his own life’s beauty and meaning, igniting his motivation, passion, and productivity, so you can do the same. In Hero on a Mission, Donald’s lessons will teach you how to: Discover when you are playing the victim and villain. Create a simple life plan that will bring clarity and meaning to your goals ahead. Take control of your life by choosing to be the hero in your story. Cultivate a sense of creativity about what your life can be. Move beyond just being productive to experiencing a deep sense of meaning. Donald will help you identify the many chances you have of being the hero in your life, and the times when you are falling into the trap of becoming the victim. Hero on a Mission will guide you in developing a unique plan that will speak to the challenges you currently face so you can find the fulfillment you have been searching for in your life and work.

WHAT IS THE STORY GRID? The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult). The Story Grid is a tool with many applications: 1. It will tell a writer if a Story ?works? or ?doesn't work. 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story'the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation.

Modern writers have reconsidered every subject under the sun through the lens of Sherlock Holmes. The overlooked subject is agency: the opportunities available to these women for independence and control. What we find all too often are the silences around them. And yet, these clients--villains, victims, and Violets--are pivotal in the world of Sherlock Holmes. Perhaps more enigmatic than Holmes’ methods is what Watson sees: the woman in the shadows. Whether lady or lady’s maid, if she does speak, it’s often not recorded in her words. That was life for half the population of Victorian England. A woman’s role was written before she was born; it merely required her to don the starched white apron of a maid, or the rough, stained skirts of a "char"--who did the dirtiest of household jobs—or the fine silk gowns of a lady. Enter Villains, Victims, and Violets to spy and report on these women in their darkest, most vulnerable moments. How does Irene Adler—pursued by a powerful king, and by Sherlock Holmes--outwit them both? Can Lady Hilda conceal the secret that only Holmes unravels? When Violet Hunter takes the last job offered before she loses everything, can Holmes free her and her doppelganger? To understand Holmes’ world is to gaze unsparingly into the lives of its women: the villains and what drives them astray; the victims Holmes races to rescue; and the Violets, who make up the strongest characters from Holmes’ unforgettable cases. The authors pull back the curtain on their private spaces, revealing their "proper" place in a man’s world at the dusk of the 19th century and the dawn of the 20th. Foreword by Nisi Shawl, noted Sherlockian and the James Tiptree Jr. Award-winning and Nebula-nominated author of the brilliant steampunk, feminist, Afrofuturist novel Everfair.

An honest look at the messiness of life when you are forced to live the life you didn't imagine. Salt Water and Honey is a story about pregnancy loss and childlessness that doesn't end with a baby. It's told from the messy middle, allowing space for the tension between faith and loss to remain rather than trying to neaten it up with solutions and reasons. Lizzie has experienced the pain of multiple miscarriages and writes honestly about her struggle and fight to find God in her suffering. She is honest about the low points and the pain, but she also shares her journey as she comes to understand that her true identity is not defined by motherhood but by being a child of God. Lizzie's story provides a safe space to remind people that they're not alone, it's okay to grieve and their story matters. Covering many universal truths such as unanswered prayer, grief, disappointment, vulnerability and faith in crisis this book is actually for anyone who has lost their dream and is struggling to understand that their story still has meaning and purpose even when life looks nothing like they hoped it would.