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Are there screenwriting lessons to be taken from analysing the work of Michael f-ing Bay?
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How do you make unlikeable characters compelling to watch... in drama?
How can the Trinity Syndrome help you write better secondary characters?
How can scene transitions do more than just move from one location to another?
How can studying RomCom clichés teach us to subvert them?
Are you a filmmaker but not sure how to start your career?
Are your story rules in your pilot strong enough to play out over the life of your show?
How do screenwriters get away with using coincidences in their stories?
How does a screenwriter collaborate with a director on an existing property?
Can screenplay competitions be worth it?