INPUT ARTICLE: Article: LSAC is the group that administers the Law School Admissions Test (LSAT), which you must take to gain acceptance into law school.  You'll create a user name and password for your LSAC account and then enter basic information about yourself.  You'll continue to update information here as you move through the admissions process. Access your LSAC account to view reminders about important application and registration deadlines, learn more about the LSAT, purchase test prep materials, register for the exam and receive your tests scores early. Once you create your LSAC account, you will also have access to the organization's Credential Assembly Service (CAS). This service helps to simplify and streamline the process of applying to law schools by creating a report that summarizes your undergraduate work and combines all of your documents with your LSAT score and writing sample.  They then send the report to the law schools to which you apply. Using CAS is simple; once you have your LSAC account set up, it's simply a matter of submitting the proper documents and paying a fee.  Make sure there is a reportable LSAT score in your LSAC file. Provide information about the schools you attended to LSAC. Make sure all required transcripts are sent to LSAC. Be certain all required letters of recommendation and evaluations are sent to LSAC Pay the fee for your account, which will remain active for five years.

SUMMARY: Set up a Law School Admission Council (LSAC) account. Use LSAC's Credential Assembly Service.

In one sentence, describe what the following article is about: Start noticing patterns in your boss’s moody behavior.  For instance, your boss might typically be in a foul mood in the mornings before having some coffee or after having a meeting with their own supervisor.  If you know that your boss will be in a mood during those times, keep your head down, do your work, and avoid asking them questions until later.  Select meeting times when your boss’s mood seems to be better or during low stress periods at work. You might also consider making a note of every time your boss is in a bad mood.  Write down the time and the circumstances surrounding their mood. When your boss is in a foul mood, avoid knocking on their door or calling them to ask them questions.  Instead, work to problem solve on your own and avoid making any major decisions until you can clear it when your boss is in a better mood. When you feel that your boss is on edge and on the verge of an outburst, do what you can to deescalate the situation.  If they have recently helped you with something or given good advice, send them an email saying “Thank you for all of your help with my project yesterday.”  This will help to stroke their ego a bit, soothe them, and avoid them seeing you from a lens of anger. You might also do a random act of kindness for them like bringing them some coffee. Though you might feel that your boss is moody, you should first determine what you are doing, if anything, to contribute to that.  If you do not complete your tasks on time, regularly come in late, or often make mistakes, then you could be the problem.  Work to improve yourself so that you do not trigger frustration in your boss or peers.  Listen carefully when your boss gives you a task or a piece of constructive criticism and work to follow through.  Don’t use your cell phone during this time. However, regardless of what you have done, your boss should not yell, curse, or insult you. If your boss’ behavior appears is abusive, you need to seek help from a trusted human resources professional. If you feel like your boss is criticizing you for something that is not your fault, discuss your concerns with them. Create an atmosphere of problem resolution rather than confrontation.
Summary: See the storm coming. Give them space. Defuse situations with gratitude and kindness. Make sure it’s not you.

INPUT ARTICLE: Article: Development executives, the people who review ideas and choose what gets made, are constantly bombarded with ideas. To stand out you need to know what kind of ideas are going to capture their attention. While there is no perfect formula for an idea, there are some common threads among the best ideas:   Originality: The hardest, but most crucial, factor of any idea. Luckily, pure originality isn't necessary. You want something that looks like it could sell -- a new mix-up of old ideas, a beloved book or story that hasn't been filmed, a new perspective people haven't seen, etc.  Projected Cost: Especially if this is your first idea, you'll generally want to steer away from the enormous, effects-driven blockbusters. Few studios will risk hundreds of millions of dollars on an unproven filmmaker. You're better off using fewer characters and simpler settings whenever possible.  A Screenplay/Proof of Concept: Do you just have the idea, or do you have something to back it up? This can be a screenplay or a short film, but it is essential nonetheless. The idea will get you in the door, but it is the content that will get the movie/show made. A log line is a single sentence that outlines the basic premise and hook of your concept. It details the characters, plot, and setting briefly so that you can interest someone in the idea with just 1-2 sentences. Keep it as short and dynamic as possible. Some ideas from famous movies include:   Back to the Future: Marty, a high school student, is accidentally transported to the past, where his parents are at risk of never falling in love -- or creating him!   Jaws: A police chief with a phobia for open water battles a killer shark. But the greedy town board refuses to admit there is a problem at the beach at all.  Ratatouille: A Parisian rat secretly teams up with an untalented chef to prove that anyone can cook, though jealous critics and pest-control think otherwise. Synopsis are 1-3 page documents that tell your entire story/first season, beat for beat. You want to include the genre (Romantic Comedy, Action) the characters, and the plot in quick, concise, and engaging prose. For reality shows, this is a breakdown of the setting, people, and possible plot lines to follow. This is easier said than done, but a good synopsis will contain:  As few words as possible. Get to the point, and get out. You want to tell the story clearly and quickly, so avoid long, unnecessary things like "Gary is tall, blond and young, but he look like he is 50. He likes to smoke and listen to rock and roll, and..." These details are unnecessary and will likely all change. Action verbs and phrases. Avoid, "she does this," "he responds with," and other overused or nondescript verbs. Aim for powerful, action-oriented verbs, like "she battles," "he retorts with," whenever possible. Characters. You don't want a list of plot elements, you want a movie. Characters drive audience investment in film and TV, so don't forget about them. The plot should be sparked by your characters, not the other way around. Having the rights to something is often the difference between a deal and the door. Luckily, they are actually easy to get. Development executives often comment that they want things "Based on a True Story." Owning someone's "Life Rights," means that you can't get sued for making a movie based on their "true" story. Just as importantly, you get the exclusive rights to make the movie or TV show, as only one person can hold the rights to something at once. Usually, you buy life rights cheaply, sometimes for $1, and then split profits once the show or movie is made.  Life rights can include biographies, such as getting a musician's life rights or the rights to the people involved in a large murder trial. Life rights can also include reality shows. Find a compelling family, mini-celebrity, or person worth exploring every day. A cheap set of life rights may turn them into a lucrative show.  If you want to adapt a book, you must purchase the rights before selling your idea. To do so, contact the publisher located in the front of the book.

SUMMARY:
Understand what makes a great idea in Hollywood. Create a clever log line. Draft up a synopsis. Get the rights of anything based on a real event or person.