Add training workflow, datasets, and runbook

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+Option Fundamentals   • 5
+Options in Daily Life
+The type of option with which people living in developed economies are 
+most familiar is an insurance contract. Let’s say that you want to fully insure 
+your $30,000 car. Y ou sign a contract (option characteristic number 1)  
+with your insurance company that covers you for a specified amount of time 
+(option characteristic number 2)—let’s say one year. If during the coverage 
+period your car is totaled, your insurance company buys your wreck of a 
+car (worth $0 or close to it) for $30,000—allowing you to buy an identical 
+car. When this happens, you as the car owner (or investor in a real asset)  
+realize a profit of $30,000 over the market value of your destroyed car  
+(option characteristic number 3). Obviously, the insurance company is 
+bound to uphold its promise to indemnify you from loss for the entire term 
+of the contract; the fact that you have a right to sell a worthless car to your 
+insurance company for the price you paid for it implies that the insurance 
+has value during its entire term (option characteristic number 4). 
+Another type of option, while perhaps not as widely used by everyday 
+folks, is easily recognizable. Imagine that you are a struggling author who 
+has just penned your first novel. The novel was not a great seller, but one day 
+you get a call from a movie producer offering you $50,000 for the right to 
+draft a screenplay based on your work. This payment will grant the producer 
+exclusive right (option characteristic number 1) to turn the novel into a 
+movie, as well as the right to all proceeds from a potential future movie 
+for a specific period of time (option characteristic number 2)—let’s say  
+10 years. After that period is up, you as the author are free to renegotiate an-
+other contract. As a struggling artist working in an unfulfilling day job, you 
+happily agree to the deal. Three weeks later, a popular daytime talk show 
+host features your novel on her show, and suddenly, you have a New York 
+Times bestseller on your hands. The value of your literary work has gone 
+from slight to great in a single week. Now the movie producer hires the 
+Cohen brothers to adapt your film to the screen and hires George Clooney, 
+Matt Damon, and Julia Roberts to star in the movie. When it is released, 
+the film breaks records at the box office. How much does the producer pay 
+to you? Nothing. The producer had a contractual right to profit from the 
+screenplay based on your work. When the producer bought this right, your 
+literary work was not worth much; suddenly, it is worth a great deal, and