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"This sketch was performed on stage for an AIDS benefit concert directed by Stephen Fry on September 18, 1989. Rowan Atkinson's character is unnamed, but from the look of him, it seems he's a member of the Blackadder family. The other character, whom you will know, was played by Hugh Laurie."

The first thing I wanted to show you is this image, which is about how you decide what the story is in the first place. Basically, I thought it would be useful to take some very dramatic job that a character has - in this case, a dragon slayer- and demonstrate how it is that the average day of a dragon slayer is no different than the average day of an insurance salesman, in terms of not necessarily being of any interest to a reader.

A film director, like an orchestra conductor, is the lord of his domain, and no director has more power than a director of animated films. He is set free from the rules of the physical universe and the limitations of human actors, and can tell any story his mind can conceive. That's no doubt why Chuck Jones, after creating the characters of the Road Runner and Wile E. Coyote, immediately wrote down the rules of what could and could not happen in their universe. If anything could happen (and it could), the comedy would be lost in anarchy.

This lesson uses video segments from Great Performances: The Little Mermaid from San Francisco Ballet to help students explore the role of the author in relation to his/her work. In the Introductory Activity, students discuss the structure of the original The Little Mermaid tale as they remember it. Students then read the original story and compare their memories to the original text. In the Learning Activity, students examine John Neumeier's artistic interpretation of the classic fairy-tale by looking at two video segments that feature the main characters of the ballet. Finally, for the Culminating Activity, students craft their own contemporary interpretation of a classic fairy-tale (e.g., Snow White, Beauty and the Beast, Sleeping Beauty).

The Big Book started with the Scouts-L Skits FAQ, and a few other small compilations of skits. People have sent me individual skits and groups of skits. My sincere thanks to Merl Whitebook, the most prolific contributor to this volume. My thanks also to Hans Hussman, Bob Jenkins, the US Scouting Service Project, the Australian Scouting Association, and a cast of other characters.

This collision of real-life tragedy and satirical ambition is much discussed at the Times Square headquarters here of Nickelodeon, a unit of Viacom, mostly because a day of trauma for America is also the birthday of a gentle and singularly optimistic character who, over the next 16 years, would prove eminently capable of soaking up at least a least a little bit of the world's ongoing sadness.

Legends and Worlds is a tool that allows authors to move beyond the final prose, and collaborate on concepts and ideas. Explore the events, characters, locations, and stories that make up the author's creative universes.

Equally comfortable playing romantic leads and action heroes, he has never been quite a force in theatre. This is partly a matter of choice. He has prioritised screen roles over stage opportunities. The last time he acted on stage was in 2009 in a popular West End production of Richard Greenberg's three-hander Three Days of Rain. In the mean time he has been taking a while to shake off the halo of urgent youth. He has tended to play callow characters more sinned against than sinning - the closest he's come to anything like villainy is as Idi Amin's morally compromised medic.

I adore using questions and answers as part of the writing process. It's an excellent way to get yourself out of writers block. It's a great method for creating specific characters. For creating a thesis for your work. It's something that should be at the heart of every project: what question is being answered here?