If you have an idea for a movie, the Ultimate Screenwriting Course is made for you. Created by Hollywood legend Ron Osborn, this course has everything you need to create a powerful screenplay to bring your movie idea to life.
Every year over 50,000 screenplays are submitted to Hollywood. This course teaches you how to make yours stand out, and with our optional movie pitch service, we can help you bypass the gatekeepers and get your screenplay in front of the decision makers who can green light your film.
I learned how to package my script like a product — with polish.
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Screenwriting is the process of crafting stories and scripts for visual media like film, television, and video games. It involves writing dialogue, character development, and the overall narrative structure to be presented on a screen. It is the process of transforming an idea into a written form that serves as a production blueprint.
The Ultimate Screenwriting Course teaches you how to do this and more. Created by Ron Osborn (the creative force behind Night Court, Mork & Mindy, Moonlighting, The West Wing and more) it goes far beyond the basics of screenwriting and provides valuable insights on how to structure your film or TV idea so that it is commercially viable. When paired with the optional upgrades, we will help you finesse your idea into a powerful screenplay and get it in front of Hollywood executives who can turn your idea into reality. So don’t be one of the 49,950 screenplays each year that never make it past the gatekeepers–take advantage of our Ultimate Screenwriting Course and our optional Hollywood Pitch upgrade and give yourself a fighting chance.
Description
Designed For
Lessons
Course Length
Course Upgrades
What Makes This Course Unique?
About Ron Osborn
Make no mistake, you cannot do this on your own, there is no APP that will transform your idea into a script–not even AI can do this. YouTube, and other online courses cannot teach you what this course provides: a fast track to knowing what 95% of your competition will never know because they are lazy.
Give us 12 weeks and you will know everything you need to properly conceive, develop write and finish your own screenplay, TV pilot or pitch. Additionally, you will learn the secrets to monetizing your movie idea and what it takes to survive in the dangerous and often times cut throat and unforgiving business of the Hollywood or Indie screenwriter.
If you are serious about making it you need to become THE ULTIMATE SCREENWRITER.
THE GOOD NEWS? You can get started right now, today, and learn from the legendary Ron Osborn in the comfort of your own home.
The Ultimate Screenwriting Course is designed for anyone who has an idea for a movie or TV show and wants to make that idea become reality.
Don’t be fooled by books, YouTube videos and weekend warrior courses. To write a great movie, or develop a TV series you need to be a trained screenwriter. No one can do this themselves or DIY it with a book. That’s because screenwriting is like learning an alien language. And that’s why you need a screenwriting course–a course you own.
This course will teach you everything you need to get started turning your idea into a screenplay. There are thousands of movies made every few years and most of them are terrible. Every wonder why? Typically, it is because the idea was decent and the screenplay sucked.
Everyone thinks they are screenwriter. They aren’t. To be a good or great writer you must be great at your craft. Your masterclass starts here.
We also offer something that no other screenplay course we know of does. We offer the opportunity to connect, directly and one-on-one with successful screenwriters to provide help with your movie or TV idea, give you feedback on your homework assignments, come to the rescue when you are facing writer’s block, help you develop your pitch and put your finished screenplay in front of a major Hollywood Producer who can greenlight your film. NOTE:These are optional add-ons and do come with an additional charge. They are available to anyone who in enrolled in the online Ultimate Screenwriting Course.
At the heart of the Ultimate Screenwriting Course are 12 video lectures by Ron Osborn. Each lecture or lesson is approximately 45 minutes that covers one of the 12 essentials to the art of screenwriting. Each lecture not only clearly explains each of these essentials, but offers anecdotal content drawn from Mr. Osborn’s extensive career in the movie industry as well as delivers insights into the commercial realities of the business that are essential to getting your screenplay funded.
Lesson 1: Thinking Like a Screenwriter
There has never been a bigger market for screenplays that are needed to fill the voracious appetites of the streaming services. These days, around 10,000 films get made worldwide with Nigeria being the largest consumer of feature films followed by India and the U.S.
In the U.S. the Writers Guild of America (WGA) registers 50,000 scripts a year. Of these, 2000 are bought or optioned and only around 200 get made. In practical terms this means you cannot take learning screenwriting and going pro casually. This means acknowledging the three masters who will determine the fate of your screenplay.
The Money Source (often a studio)
The Talent
The Public
With franchise film sequels, prequels, movies based on songs or board games or comic books there’s little room for a unique idea unless it stands out on its own merits, satisfies the three masters and guarantees (as much as possible) a return on investment.
There’s one other master who you must serve, the coverage reader (otherwise known as the gate keeper). There the ones who can send your script up the food chain IF they feel great about it. Perhaps 10% of the scripts they read get moved to the next step. Now coverage readers can’t green light your script, but they can kill it before it’s born.
So, if you want to be screenwriter understand that the discipline and commitment to writing is as important as the writing itself. 95% of what you do in this business is rejection. Therefore, it is imperative that you understand screenwriting at a deep level.
No one wants to read your script.
Commerce first, art second.
You need to find your unique voice and develop it.
95% of what you do in this business is rejection. Learn from this process.
Lesson 2: The Essential Needs of the Narrative
All story logic should spring from character, not plot. The plot moves forward by the logical actions of your characters. Compelling characters are the reason your script exists.
Conflict is the basis for ALL narrative. Without conflict you have no story. Conflict can be defined by this six-word equation: Define the need, create the obstacle. There are three narrative elements to make this equation work:
Stakes and Consequences
Dramatic Tension
Emotional Investment
The six-word equation demands that we have:
A protagonist with a need/goal.
An antagonist or obstacle which stands in the way of that need.
Stakes that keep the protagonist focused and the story moving forward.
Consequences and failure of not reaching the need (which ramps up the dramatic tension).
An emotional investment by the audience wanting the protagonist to succeed.
A story arc which is often a transformative journey for the protagonist.
Your mindset as you write your script should be:
What is your character really after?
What engages us?
What is the protagonist really after?
What’s underneath the goal.
What motivates the protagonist to go after it?
Remember, all storytelling is emotional. You can take any film and reframe it emotionally. Try to do this with every film idea you come up with.
Lesson 3: Coming Up With an Idea
Oftentimes the harder you think of THE IDEA that will inspire you to write, the harder it will make itself known to you. Ideas rarely show up fully formed. Don’t put pressure on yourself to find a STORY! You’re actually looking for a “narrative springboard” which will lead to a story. That may be:
A notion
An arena
A character
A location
Figuring out what your story is about is a process. Question: What are you looking for? Answer: An interesting basis for conflict. Open Yourself Up to the Stories Around You:
Observe
Listen
Read
You can’t copyright an idea.
Public Domain: Any work published in the United States before 1923 or works published before 1964 for which copyrights were not renewed, expiring by 1992 at the latest, is in the public domain.
Facts cannot be copyrighted nor can the history that’s generally taught. Parody and satire are protected as a form of Fair Use. Parody must make fun of the original work or its author. satire – is considered its own genre or literary form in which behaviors follies, abuses and shortcomings are held up to ridicule, often in the hopes of changing attitude or inspiring improvement.
When you finally come up with that brilliant, magical idea, consider:
Is it something you can be passionate about? Otherwise, why care about this idea?
How do I make the audience care as much as I do? How can I get them emotionally invested?
Do I clearly see where this story is headed? If the ending of your movie comes easily to you, it might also come easily to the audience.
Lesson 4: Three-act Structure
Here’s how Pixar pitches the three-act structure to their animators:
Act One:
Once upon a time
And every day
Until one day
Act Two:
And because of that, this happened
And because of that, this happened
Until finally
Act Three:
And ever since that day
And the moral of the story is
While some writers like to fly by the seat of their pants, others, including Ron Osborn doesn’t start writing until he knows the following:
Starting
First Act Break (Conflict kicks in)
Mid-Point
Second Act Break (All is lost moment”
Ending
Coverage readers expect a good script to grab them in the first ten pages and around page 17 the main character to make a decision that pulls them down a path for the rest of the movie. A standard feature film screenplay is around 100 pages, the first 20 get us to the first act break, the next 60 get us to the second act break, and the last 20 get us to the resolution of the conflict and the end of the screenplay.
Lesson 5: On theme
Theme is the most misunderstood, misused tool in the writer’s toolbox. In terms of your story, protagonist, goal, and obstacle, what is your story in the service of? What is the central, underlying idea that unites the plot and the character’s actions? Theme is the dominant idea underneath your story. It’s the something we can all relate to as humans. Examples of common themes:
War is hell.
All men should be brothers.
Love conquers all.
Why you should know your theme: It informs every scene you are about to write, as well as how you should be approaching it. It informs what makes your characters, and especially your protagonist tick. If you know what your theme is, it will serve as a compass which keeps your story consistent and pointed in the right direction. Find your theme and it will point you to the true north in your story. It will even suggest scenes and sequences to write. No one sits down to write a theme. You write a story, and the theme will ultimately reveal itself to you. Theme is the something humans relate to.
Lesson Six: Scenes and Sequences
Moments are what the audience wants to see. A scene is a segment of story that takes place in continuous time and in the same place. A scene should end with a “but” or “therefore” which launches us further in the story. A scene:
Has a beginning, middle, and end.
Always has an objective, even if the audience doesn’t know what it is at the time.
Illuminates an aspect of the story of a character.
It can set up something that is paid off later.
It can be the pay-off to the something which was set up earlier.
It can be a transition ahead or backwards in time or be used to change location in the present time.
Whether it’s the protagonist or another character, their goal is either reached, advanced, or stymied until a later scene.
It always moves the story forward.
A scene ends when it has served its purpose to advance the plot.
A sequence is a series of scenes conjoined by a single thought. A sequence should also end with a “but” or “therefore” which launches us further in the story.
Lesson Seven: On Character
Give Your Protagonist a Defining Entrance Give your character a distinctive introduction that speaks to who they are, establishes a distinctive factor about them. Oftentimes what you think of a person for many years comes only after a first impression. Thus, you should never, ever miss an opportunity to make a first impression of a character, to give him/her a telling introduction. Create a first impression to play into or play against.
Before You Start Writing Put a lot of effort into your protagonist. Delve into the history and key life moments, really find the building blocks that have made him or her what they are today…how that history manifests in your protagonist’s world view…personal quirks…unique mannerisms, habits, or pastimes. What you think of a person for many years comes only after a first impression.
Lajos Egri’s Character Breakdown:
Physiology
Gender
Age
Height
Weight
Color of Hair
Color of Eyes
Skin
Posture
Appearance
Neatness
Health
Birthmarks
Abnormalities
Heredity
Psychology
Sex life
Morality
Ambitions
Frustrations
Temperament
Attitude
Complexes
Superstitions
Imagination
Sociology
Class
Occupation
Education
Home Life
Upbringing
Relationship with parents
Relationship with siblings
Religion
Community’s perception
Political affiliations
Amusements
Delve into the history and key life moments of the protagonist, really find the building blocks that have made him or her what they are today…how that history manifests in your protagonist’s world view…personal quirks…unique mannerisms, habits, or pastimes. What you think of a person for many years comes only after a first impression.
Lesson Eight : Dialogue Exposition
This lesson looks into the elements that manifest character through how the characters express themselves via text and subtext, the combination of which invariably results in the telling of information or exposition. Writing dialogue well is the hardest thing to teach and the hardest thing to do well. Dialogue is informed by the definition and establishment of character. The character was created for your specific story and to serve a specific theme. Therefore, define your character in terms of the goal in your screenplay. This is the most important thing for you to know and for your audience to learn. Because the goal is the basis for conflict and that conflict is the basis for story, that goal is going to determine your character’s behavior.
Subtext is the meaning beneath the words. Subtext may be inferred through a character’s actions, even through silence, when no dialogue is stated. It is the meaning inferred by bearing witness to a situation or deducing the deeper meaning beyond the words expressly stated.
Exposition is the nuts-and-bolts type information that must be given in a scene to the audience for the plot to move forward, for characters’ motivations to be clear, and for relationships and backstory to be understandable. Define your character in terms of the goal. Exposition is the enemy of good writing and good drama, nevertheless it is necessary. It is not plot but it advances the plot. How to relate exposition without being obvious about it requires work. Avoid whenever possible having a character recap what the audience already knows but other characters still need to know. Exposition trick: Introduce a character to ask the questions for the audience.
Truly listen to how people speak in real life. People talk across purposes, or elliptically, incomplete, use clichés. Read your dialogue aloud, and often. Do not be afraid of silence.
Lesson Nine: Point of View
Through whose eyes is your story being told? P.O.V. is of crucial importance and can change the entire approach or attitude of your story, depending on the P.O.V. you have chosen. Consider: How is the plot best revealed in terms of who knows what, when (including the audience)?
Factors that Determine Your Choice of P.O.V.
First: the needs of the story… a plot is the essential information necessary to move the story forward, so the primary factor is how to best unfold that information.
Second: remember, all storytelling is emotional…it succeeds or fails in how well it connects emotionally with your reader, viewer, or listener.
Types of P.O.V.
Omniscient – in writing, in reference to a P.O.V. that is all-seeing, like God or a God-like or mythical being.
3rd person Limited Omniscient – in writing, in reference to a P.O.V. in which only the thoughts and feelings of a main character are revealed.
Epistolary – a P.O.V. in which the story is told in the first person through letters, notes, and/or diary entries, all written in the first person.
P.O.V. can change the attitude of your story.
Lesson Ten: Comedy vs. Drama
Many believe that to write comedy you must begin with a comedic premise. That’s simply not true. While there are comedies which have a comedic premise, most successful comedies do not. In fact, the worst possible scenarios often spark laughter.
Aphorism: Comedy is Tragedy plus Time.
The Narrative Needs are the Same: All drama, all comedy have exactly the same needs. Take any comedy or drama. Deconstruct them side-by-side, you will see no core difference.
Serious Subject Matter as Comedy: The more serious the subject matter, the greater the comedic potential. With the separation of time, we get laughter.
What is Taboo in Comedy? Answer: not much. Ultimately, it isn’t the tragic or taboo aspects we’re laughing at. It’s the human condition that tragedy and taboo reveal about what we find funny. We, as human beings, are so monumentally flawed and those flaws are revealed in our actions which are sometimes very extreme and hence funny. Don’t be afraid to take chances. Don’t limit your thinking because of societal taboos or political correctness.
Comedy of the Absurd? Ground It in Reality: To be funny, absurdity in a narrative film needs to be grounded in reality or, at least, grounded in emotional reality. Start with one foot on the ground and you have some freedom to be absurd.
Character is Comedy: If you design your characters with a well-defined overriding quirk or pronounced personality flaw, or unique left-of-center view of the world (which is still consistent with the story and theme you’re telling) then the humor that comes out of your character’s mouth isn’t so much a joke as a consistent perspective.
Enter Laughing: Always make a statement about your Give them a funny, revealing introduction that makes a statement about who they are.
Not Every Protagonist is Funny: Don’t be afraid if your protagonist is not the comedic center of the film. Use it and build a broader universe which orbits around them. Having a grounded protagonist at the center of the show, who represents the audience and to whom they can relate, allows you to go much broader and funnier with the side characters. There’s still great material to be had with your less funny, grounded central character in their growing frustration/exasperation with the situation at hand. “Comedy allows us to hold our otherwise tragic or taboo subjects at arm’s length.”
Romantic Comedy: Wonder why romantic comedy is moribund? There’s no seemingly insurmountable obstacle standing in the way of the two leads getting together. Sure, you knew they’d get together, the problem lies with how relatively unproblematic it was; it wasn’t earned. Where’s the real conflict? The larger the obstacle, the greater the conflict, the better the comedy, and the more satisfying then when the two people finally get together.
Structure and Formula are Your Friend, Especially in Comedy: Beginning, midpoint, end, and act break one, act break 2 give you signposts around which to build your story. Each of them gives you an opportunity for humor. Beginning – memorable comedic entrance. 1st Act Break – that moment when matters spin out of control, conflict kicks in, and the stakes are established. Midpoint – another chance for humor. You increase the threat and tension. Remember, the bigger the threat, the bigger the humor. 2nd Act Break – this is when the tension and humor should be at its highest. This is the moment that demands resolution. On Genre Tropes – know them so that you can deliver a fresh twist and do better than the competition.
Don’t be afraid to suck. All writing is rewriting. Don’t be afraid to be bold. Romantic Comedy: The greater the conflict, or obstacle, the better the comedy.
Lesson Eleven: Writing Genre and High Concept
Genre – a film category having specific content, style, narrative convention, imagery, settings, narratives, iconography, and characters or types of characters, all of which evinces a specific emotional response to the material.
High-Concept – A subset of various film genres, it is based on a premise that can be summed up in one sentence, even a few words, and it has an automatic hook.
Genre: The Evergreen of Film History. i.e. The Horror genre: Death is always the threat, usually multiple ones, usually grisly. The visual style is to serve the scares. Shadows and dark often play a huge part in the look. It might contain supernatural creatures or otherworldly monsters, and you’re going to respond emotionally by being frightened and, one hopes in the end, relieved.
Other genres include:
Musical
Western
Historical
Action
Adventure
Romance
And the broad heading of Comedy In Horror, one hopes to be relieved of fear.
These writer/directors started out in horror and science fiction genres:
Francis Ford Coppola
George Lucas
James Cameron
Joel Coen
Kathryn Bigelow
Sam Raimi
Peter Jackson
Ridley Scott
Steven Spielberg
Genres are Good for the Film Industry The strength of the approach of thinking in the genre area, be that regular genre or high concept, is that it gives you a built-in audience. It’s invariably something that is highly promotable. The concept doesn’t depend on big stars. The concept is the star. Low budget, great hook, no stars necessary. Writing in genre is not easy and your idea must be interesting and special in order to get noticed and potentially sold. You must satisfy the expectations of the genre you’re writing in as well as deliver something new and different. Remember: The moviegoer is sitting down to watch it with a set of preconceived conditions and assumptions you need to satisfy. As the writer, you need to balance the tropes they expect with their need to see something new and different. Use the familiar as a springboard to present the new.
Lesson Twelve: Proper Screenplay Format
Sure, it hurts to hear it, but it must be said again: No one wants to read your script. For that reason, format is vitally important. Poorly formatted scripts, typos, and other errors signal to the reader that your work lacks professionalism. Bear in mind that every time someone passes your screenplay up to their superiors, they’re putting their own necks on the line. Give that powerful gatekeeper Coverage Reader every reason to pass your script up the food chain. No one in Hollywood and film in general has ever lost their job for saying no to passing a script up to their bosses. It is easier to say no. There are zero repercussions for doing so. Pass an inferior script up and their reputation, and job, could be on the line. Write visually, enabling the reader to visualize your screenplay in their mind. Externalize characters’ inner emotion through clear descriptions of how they act and how they speak. Anything that confuses the reader is a black mark against you. Work hard to make scenes flow from one scene to the next. Reduce excess in descriptions. Only use more detail if it is absolutely required. No one wants to read your script. Sure, it hurts to hear it, but it must be said again: Poorly formatted scripts, typos and other errors signal to the reader that your work lacks professionalism.
Remember, writing is not easy. If it were, everyone would do it. It gets easier over time, the more you practice it. Hence, the vital importance of discipline, developing a routine of writing regularly, and especially, rewriting. The idea and conception of this workshop has been to give you a huge leg up on the thousands of others who want to sit at the same table as you do, not only in talking about the craft but also filtering it though the business realities you need to factor in. If you have done the homework and come up with a basic idea you can now work on, this course leaves you at the next step—realizing that idea and getting it into a first draft by working with a mentor who is an actual professional working in the industry. With them, you can develop that first draft into one or more rewrites.
The Ultimate Screenwriting Course consists of 12 lesson, presented by Ron Osborn. Each of these video lessons is approximately 45 minutes long. They are video streamed so that you can watch them in any country, on any device that has an Internet connection.
Be prepared to put in the time, energy and dedication it takes to write a script that has a chance of getting read and sold, and thereby breaking into the film industry. It is great if you have an idea for a movie, but if you don’t, developing an idea for a movie is covered in one of the early lessons. Some come to us with an idea, others need help developing an idea from their life, childhood, their dreams, etc. Either way we can work with you.
Additionally, there is a supplemental list of recommended reading, films to watch and “homework” assignments for each lesson.
We advise spending a week on each lesson, including the recommended reading, films and “homework” assignments in order to properly grasp the concepts that are being taught.
We offer the opportunity to connect, directly and one-on-one with successful screenwriters to provide the following personal consultation upgrades.
Help with developing your movie or TV idea.
Provide you feedback on your homework assignments.
Come to the rescue when you are facing writer’s block.
Critique and advise you on your screenplay at any point in the process.
Polish your final screenplay effort.
Help you develop your “Hollywood” or sponsor pitch.
These direct connection screenwriting consultations are conducted online via a video call and are sold in 60 minute increments at $100 per hour.
Additionally, we offer the unprecedented opportunity to your finished screenplay in front of a major Hollywood executive who can greenlight your film–guaranteed. This Hollywood Pitch Meeting upgrade is available for the flat fee of $750.
It’s created by Ron Osborn who has an incredible track record of success and industry connections. He knows how the movie and TV businesses really works and his insights are significant to your success.
It covers more than just the fundamental steps in writing a screenplay and includes the commercial realities inherent in whether your screenplay gets picked up or not.
It’s more than just a Screenwriting Course, it’s lessons in living, storytelling, moviemaking and it will inspire you to not only be a better writer but a better human who can makes sense of our complicated world.
It offers the opportunity to get your script past the gatekeepers and into the hands of a Hollywood executive who can greenlight your screenplay (if you sign up for the optional upgrade) and that is the underlying purpose of the Ultimate Screenwriting Course. If you sign up for the optional Hollywood Pitch Meeting upgrade, follow the advice and suggestions of your mentor and put in the time, effort and work that screenwriting demands we will see to it that your screenplay does an end-around on the gatekeepers and gets directly in front of a Hollywood executive for their consideration.
Ron Osborn
Ron Osborn is an experienced screenwriter, producer, and executive consultant with a career spanning over 40 years.
Ron Osborn’s movies have grossed nearly $500 million worldwide and his television writing has earned him Emmy nominations during the 80s, 90s, and 2000s.
He’s written for television staples like Mork & Mindy, Night Court, Moonlighting, The West Wing, Duckman, and Beauty and The Beast.
Osborn has written pilots for every major broadcast network as well as cable heavyweights HBO, Showtime, FX, MTV, Lifetime, ABC Family, and Disney.
He wrote Meet Joe Black with Brad Pitt and Anthony Hopkins and has developed film projects with Steven Spielberg, Ron Howard, and George Lucas.
In other words, his expertise extends far beyond screenwriting and into the realm of executive producing, Hollywood board rooms and the art of pitching, staying sane while selling your screenplay or getting your movie made.
The Film Connection is honored to be the exclusive presenter of Ron Osborn’s Ultimate Screenwriting Course.
Frequently Asked Questions
I'm really interested in pitching my movie idea to Hollywood. How does that work?
The reason we are able to put your movie idea (in screenplay and pitch form) in front of Hollywood producers and executives is because we have an incredible network of film industry contacts we’ve developed over the 40+ years we’ve been in the business. What this means is we can help you ‘cut in line’ and bypass the gatekeepers to put your movie idea in front of the very people who have the power to green light your film. That said, there are a few considerations you need to be aware of.
Just because you buy our Ultimate Screenwriting Course does not mean we will help you pitch your movie to our Hollywood connections. We have our reputation to consider, so we need to believe in your movie idea in order to help you pitch it.
What this means is that we need to see your script so we can evaluate it. This means it is very likely that we will make suggestions to improve your script in order to get it ready to pitch. You must be willing to act on these suggestions.
For best results, we recommend you start consulting with us early on in the process. This usually means booking a consulting session with us before you get too far in the screenwriting process. We can help you structure your screenplay, based on your idea to get you started on the right path.
This is usually followed by a few additional consulting sessions as you get further along in the screenwriting process. Remember, we are your best ally in getting your script turned into a movie and we really want to help you succeed.
Once we think your script is sound, we advise you to book an additional consulting session with us to develop your pitch idea and help you hone your presentation to give you the best chance of success.
There are over 50,000 screenplays submitted to the Writers Guild of America each year. If you follow the procedures outlined above, you will at the very least get to present your movie idea to the Hollywood decision makers which is something that 99% of these screenplays will never achieve. If you don’t get past the gatekeepers, your movie idea has no shot at getting a green light. We get you past the gatekeepers.
What if I want to produce my own movie?
We can help you with that as well. Your first step would be to start with our Ultimate Screenwriting Course and get your movie idea into screenplay form. Then you should consider our Ultimate Filmmaking Course which not only teaches you how to make your film, but also offers additional insights into how to get your film project funded.
Additional Reviews
1-4 of 10 reviews
Tyler M.
Reviewer
I learned how to package my script like a product — with polish.
Quinn K.
Reviewer
We learned to position a project for multiple revenue streams.
Morgan K.
Reviewer
The program didn’t just teach me how to write — it taught me how to think like a screenwriter.
Morgan K.
Reviewer
The program didn’t just teach me how to write — it taught me how to think like a screenwriter.
I learned how to package my script like a product — with polish.